Amani Bin Shikhan

Amani Bin Shikhan

Freelance writer.

Toronto-based. Interested in cultures, structures, people and diaspora.

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  • 53K
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17
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Noisey

'All Eyez On Me' and The Danger in Worshiping Our Idols

The 'All Eyez On Me' doc is not the first or last rehashing of Pac’s legacy. But when will it end?

Noisey

It's Time for SZA to Take Her Throne

A primer on SZA's career thus far, and why it's important to stay in her corner.

Noisey

Drake’s ‘More Life’ Is an Undeniable, Lovable Global Smash

Diaspora Drake is the best Drake—and also the most natural.

Noisey

Why Princess Nokia Matters Now, More Than Ever

Destiny Frasqueri, aka Princess Nokia, knows herself. You should too.

Noisey

'Starboy' Unravels The Weeknd's Mystery and Brings Abel Tesfaye into Focus

'Starboy' is The Weeknd's musical metamorphosis. The only question is what took so long?

Noisey

Solange's 'A Seat at the Table’ Rejoices in the Glory of Survival

The artist's personal third album provides a safe haven from the noise of the world.

Noisey

What Is Time?

On time, mortality and Frank Ocean's Endless and Blond(e) double release.

Noisey

6 Different Views on Drake's 'VIEWS'

Blurb on Drake's Views album and its place in Toronto's current landscape.

Noisey

Lemonade, Love, and Being a Black Girl Who Becomes a Black Woman

There are some words that belong to black art criticism: visceral, raw, unapologetic, pride, defeat, struggle, overcome, profound. Not unuseful, but have carried the weight of creation too elusive to name. Insert a word flexible enough to contain multitudes of interpretation, a word lacking decisiveness, a word steady enough to garner a nod of approval but light enough to not add to the load. The compartmentalization of black art, of black word, of black body.

“Blindly in love, I fucks witchu, until I realize I’m just too much for you.”