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Why Is There a Dearth of Protest Music in Nigeria Today?
Iyabo Ojo’s “Labake Olododo: The Warrior Lord” Hits Cinemas This March
“Love, Olaitan” Review: Moyosore Akinsete’s Short Film Is a Mesmerising Portrait of Love and Loss
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Show Dem Camp’s Clone Wars Series: A Decade Plus Of Consistent Rap Intervention
WHY PETER TOSH, NOT BOB MARLEY, SHOULD BE REGARDED AS JAMAICA’S GREATEST EVER MUSICAL EXPORT
WHY NIGERIANS THINK MR EAZI IS NO LONGER MUSICALLY RELEVANT - AND WHY THEY ARE VERY WRONG
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Mavin Records Celebrates Ten Years of Musical Excellence with “Overdose” Music Video
What Does “Buga” Portend for Kizz Daniel’s Career?
Obongjayar’s “Some Nights I Dream of Doors,” and the Artistic gifts of Altered Consciousness
Burna Boy Makes Directorial Debut with “Last Last” Music Video
Two Street Kings, Oritse Femi and Portable, Spread the Message of Hustle in “Oro Aje”
Victony’s “Outlaw” is a Neat Attempt at Rebellion
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