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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
Five Simple Healthy Habits Everyone Almost Forgot About
Confraternities vs. Fraternities: Where Did the Nigerian Experiment Go Wrong?
The Bad Leadership of the African Union and the Cost of a New Africa
Abdulrazak Gurnah’s Nobel Prize Win and the Politics of Storytelling
Women and the Myth of Vagina Fragrance
Women, Outrageous Beauty Standards And A Multimillion Dollar Makeup Industry
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Film & TV
“Office Invasion” Review: Three Office Friends Battle Aliens in a Slow but Charming South African Sci-Fi Comedy
“Nairobby” Review: Greed and Division Rule in Jennifer Gatero’s Tense but Monotonous Post-Heist Thriller
“Hey You!” Review: Uyoyou Adia’s 18+ RomCom Almost Ruined by Unresolved Subplots
“Lockdown” Review: Moses Inwang’s Pandemic Movie Feels Like a “93 Days” Wannabe
“Money Miss Road” Review: Swanky JKA and Josh2funny Bring the Comedy in Obi Emelonye’s Action Comedy
Bovi Ugboma’s “My Village People” Understates Spirituality and Witchcraft
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Music
“That Uzere Boy” Review: Savage Unleashes a Sensory Feast with Sophomore Effort
“Love Letters” Review: Ka$hCPT Lays Emotions Bare through Effective Storytelling
“Music Has Failed Us” Review: Abu Ibrahim’s Debut Poetry Album Heralds a New Protest Chant
“Dues” Review: Sean Tizzle’s Work Is a Triumph of Talent and Growth
“Summer Breeze” Review: Tay Iwar Lays Skill and Consistency on Full Display
“Work of Art” Review: Is Asake’s Album Simply a Work in Progress?
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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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