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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”
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Film & TV
Movie Review: Izu Ojukwu’s “76” Excels As A Period Piece With A Knack For Detail
“Awon Boyz,” an Emotive Documentary on the Lives of Lagos Hustlers, Now Streaming Globally on Netflix
Movies From The Vault: Chineze Anyaene’s “Ijé: The Journey” Is A Compelling Take On The Nigerian Dream
Movie Review: Kathryn Fasegha’s “Two Weeks In Lagos” Is Forgettable Schlock
Blackstar Film Festival: Renee Maria Osubu’s “Dear Philadelphia” Is A Song Of Hope For Black Communities
Blackstar Film Festival: Susy Pena’s “This Is Forever” Examines Identity, Immigration And Family Bonds
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Music
Black Sherif’s “The Villain I Never Was” LP is a Concise Chaperone for Sad Boys
Yinka Bernie Delivers an Emotional, Meditative Project with “Something New”
Victoria Orenze’s “Truth in Sounds” Album Cements Her Depth in Carving Spiritual Lyrics
Show Dem Camp Takes Listeners on a Final Palmwine Music Ride with “Palmwine Music 3”
B-Red Shows a Lack of Depth on His “Good Music for Bad Days” EP
Layzee Ella Furthers Her Artistic Growth with Dancehall-Infused “Feel Everything”
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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2025 AMVCA: How the Stars Lit up the Night With Style
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