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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
Deeper Life Bible Church: is the Church taking a 360?
Social Media, Narcissism, and the Craze for Validation
Is the Society Hindering Heterosexual Men From Forming Stronger Friendships?
Gender Constructs Are No Basis For Moral Judgement
Freedom for Religious Proselytism
One Year After “End SARS” Protest, Police Brutality Still Looms
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Film & TV
“U-Turn” Review: Gabriel Afolayan’s Directorial Debut Is a Road Movie Lacking in Attractions
“Love Lives Here” Review: Norman Maake’s RomCom is a Fairy Tale that Sticks to its Story
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
Adeoluwa Owu’s “The Griot” is Simple and Soothing but Fails to Reach its Potential as an Epic
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Music
“The African Serenades” Review: Echezonachukwu Nduka Sets the Pace For African Art Music
“THREEE” Review: KLY’s Album Reflects on Love, Lust, and Internal Conflicts
“Rush” Review: Hamzaa Explores Vulnerability in Her New EP
“Africa Unite” Review: Reggae Meets Afrobeats on Bob Marley’s Reimagined LP
The Sarz Academy Garners an “A” for Effort on “Memories That Last Forever 2”
Christtie Jay Serves Poetry in Soulful Meditation in Her Spoken Word Album, “Grey Choir”
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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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