Tara Fela-Durotoye (born 6 March 1977)[1] is a Nigerian makeup artist and lawyer. A pioneer in the bridal makeup profession inNigeria, she launched the first bridal directory in 1999, set up international standard makeup studios and established the first makeup school in Nigeria.

She is the founder and CEO of House of Tara International[2] and creator of the Tara Orekelewa Beauty range, Inspired Perfume and the H.I.P Beauty range.

In 2007, She was awarded the Africa SMME Award and the Entrepreneur award in South Africa[3] and in 2013, Forbes listed her as one 20 Young Power Women In Africa[4]

Early life

ALERT!!! ALERT!! YORUBA-ENGLISH


Mo n try lati download ede Yoruba keyboard s'ori computer mii, sugbon ko sise. Or well, file yen ko fe si

modath:


E kaaro ara ile, a o ji ire bi...

Had a lot of reading up to do..

This is where i should be & not engaging with awon ti aye n ta lori, ti o tun ko eyein si ti won wa n wa eni ti won ma fi ikanra mo.

[img]http://4.bp..com/-Ir5DN_7mwzw/UngEwcH7ppI/AAAAAAAAOpg/cTPq2iBdjWg/s1600/ti.gif[/img]

modath:


E kaaro ara ile, a o ji ire bi...

Had a lot of reading up to do..

This is where i should be & not engaging with awon ti aye n ta lori, ti o tun ko eyein si ti won wa n wa eni ti won ma fi ikanra mo.

LOL @ the bolded. So true.

Aareonakakanfo:

Yeah code-switching is the alternation between two or more languages

Hmmmm yea....about that...

In the field of make up artistry in Nigeria, the yoruba ladies stand taller than amazons....

Emilokoiyawon:

LOL @ the bolded. So true.

IlekeHD:



lmaooo

Kaaro.

Aareonakakanfo:

[img]http://4.bp..com/-Ir5DN_7mwzw/UngEwcH7ppI/AAAAAAAAOpg/cTPq2iBdjWg/s1600/ti.gif[/img]

You guys need to see my mentions, like na my fault fate used dirty drained engine oil to fry their eggs instead of old vegetable oil... curse their mama, papa, children join...

One thing is certain, awon omo irankiran kan o le ko wa laya je.

Here is a link to my topic on 3 omooduwas changing Africa's printed material business.

https://www.nairaland.com/2686051/3-young-nigerians-change-africas

modath:







You guys need to see my mentions, like na my fault fate used dirty drained engine to fry their egg instead of old vegetable oil... cause their mama, papa, children join...

One thing is certain, awon omo irankiran kan o le ko wa laya je.

Wa dawon lo wun. Ti wa n ti ba aje. On wa eni to ma ba ti e je.

modath:



You guys need to see my mentions, like na my fault fate used dirty drained engine to fry their egg instead of old vegetable oil... cause their mama, papa, children join...

One thing is certain, awon omo irankiran kan o le ko wa laya je.

lol

Babatunde A. Ogunnaike

University of Delaware's College of Engineering Dean

Babatunde A. Ogunnaike was named dean of engineering in 2013. He joined UD in 2002 as a professor with dual appointments in the Department of Chemical Engineering (now the Department of Chemical and Biomolecular Engineering) and the Delaware Biotechnology Institute's Center for Systems Biology, following a 13-year research career with DuPont. He earned a bachelor's degree in chemical engineering from the University of Lagos in Nigeria in 1976 and a master's degree in statistics and a doctorate in chemical engineering from the University of Wisconsin Madison in 1981. In 2012, Ogunnaike was elected to the National Academy of Engineering and the Nigerian Academy of Engineering.

[img]http://www.engr.udel.edu/directory/images/ogunnaike.jpg[/img]

Aareonakakanfo:
Let me drop my pen for today,


NEEEEXT!

O daaro.

Aareonakakanfo:




Ojo is the owner of printivo and he's doing extremely well.His company was part of the companies listed as the 9 tech companies changing Nigeria's future

This (printivo) brings me to the issue of youth empowerment and development. I believe that if we revitalize our trade school model and merge it with computer/computing training/education, we can, within a decade or so, produce skilled young adults who are not only skilled in a particular trade but have the computing skills to compete in today's market. The idea that you have to go to the University before you can be deemed 'educated' for today's market has held back so much development and progress in our communities.

Emilokoiyawon:


Wa dawon lo wun. Ti won n ti ba aje. On wa eni to ma ba ti e je.

They will only try, he who God has bless no man can cause.
Mo ti se atunse si "won" ninu akojopo oro yen..


Anti Ileke HD, i see you giving them hell on a regular basis, na we dey supply the likes, na frustration go finish dem last last....

Aareonakakanfo:
Let me drop my pen for today,


NEEEEXT!

Se ilu oba ni ewa ni?

Mo ro pe ajo n ko pa pelu awon bad belle yi ni?

modath:




They will only try, he who God has bless no man can cause.
Mo ti se atunse si "won" ninu akojopo oro yen..


Anti Ileke HD, i see you giving them hell on a regular basis, na we dey supply the likes, na frustration go finish dem last last....

There own done finish - I just dey watch dey laugh.

O daro fun emi niyen. A tu n magbiyonjun ni ojo mi.

modath:




They will only try, he who God has bless no man can cause.
Mo ti se atunse si "won" ninu akojopo oro yen..


Anti Ileke HD, i see you giving them hell on a regular basis, na we dey supply the likes, na frustration go finish dem last last....

I do what I can. O se jare.

Se o ri bi won se n try lati ba tiredi yii je? Aareonakakanfo has done a great job of ignoring jealous frogs.

Ore mi, mo ti fe lo sun jare. O daaro.

modath:



Se ilu oba ni ewa ni?

Mo ro pe ajo n ko pa pelu awon bad belle yi ni?

Maa da lohun, abule village ni Ilu Ondo lo wa.......

Interesting thread

If we really want to be serious and are intetested in giving legs to these inputs my suggestion will be to tackle infrastructure first -

Electricity
Water
Sewage
Waste disposal
Broadband

Before assigning tasks and priority we must define expectations. We need to set objectives and an audit system for guiding compliance with the expectations. We also need a rating system tied to these objectives and an accreditation for awarding or....endorsing administrators into higher heirarchies of public service.

How do we know if Fashola was a better Governor than Ajimobi or Fayose, or if Aregbe was better than Amosun or Mimiko? Is Ahmed better than Fashola and Wada and Uduaghan?

We need a points or weighted scale system for determining accountability, service and excellence in the Yoruba Commonwealth. Our Administrators will be given a tighter rope to walk than their peers elsewhere in Nigeria.

After drafting and adopting this as a process, then we should begin to assign tasks that we want implemented. Non complying, non performing Administrators will eventually fail ratings and endorsement and become a political risk for parties to field. This will compel them to perform if they want to continue in public service. If they perform tasks will be completed and a new maintenance culture and discipline will emanate from top down.

[size=18pt]Printivo Closes On 6-figure Seed Funding From EchoVC Partners[/size]

Lagos. Thursday 15 October 2015 – Nigeria-based digital printing startup, Printivo, has closed on seed financing from early-stage technology venture capital firm, EchoVC Partners.

The six-figure investment will be used to significantly broaden the company’s product range, increase headcount, accelerate customer acquisition and scale the business. Initially servicing Nigeria’s booming SME sector, Printivo is poised to capitalise on and grow Nigeria’s $200M print market, which has until now, had no credible online presence.

From $6 in 2011, Africa’s print industry is currently estimated to grow to $9B annually by 2016, as businesses invest in design and print to keep up with African consumers’ increasing visual literacy, brand adoption, and uncompromising demand for quality. A self-styled ‘Vistaprint for Africa’, the year-old Printivo provides the only fully automated online print service for over 3,000 customers, providing local and international businesses with corporate stock collateral, such as business cards, letterheads and notepads, and has seen y-o-y growth of 200% since its launch in 2014.

Prior to Printivo, there has been little to no innovation in the print industry in Africa’s largest economy. Market-wide challenges for Africa’s print industry have historically included the high cost of printing, lack of graphic designers, poor customer service and time-intensive ordering practices, making top quality printing all but unaffordable for the super-majority of small businesses. With founders that have spent their entire lives in the print industry, Printivo is the first to build a full service digital platform, in conjunction with a visual creative & design community, to service the small business sector, offering free online templates, design support, a custom upload service, e-commerce, nationwide delivery and high quality customer service turnaround. Printivo is also rapidly growing its consumer
base, with a focus in particular on Nigeria’s multi-million dollar wedding industry.

Olu’yomi Ojo, Printivo Co-Founder and CEO says, “Securing institutional seed financing means we can accelerate the growth of our online print services & community platform and achieve the ambitious targets we have set for ourselves, as we transform an industry that has, until now, lacked digital infrastructure, investment and innovation. We can now transition print from bricks & mortar ‘mom-and-pop’ stores that struggle to scale and meet quality requirements, to online ordering and direct delivery, while enabling job creation and distribution. We are in the process of removing the friction for companies that want access to great design, transparent pricing, high quality products and fast turnaround on orders. Simple, yes, but something local printers have historically been unable to provide.”

“In EchoVC, we have found an investor and partner who has a complete understanding in growing and scaling eCommerce businesses and who sees the enormous growth opportunity Africa’s print industry presents.”

With revenues rapidly growing at 50% quarter-over-quarter, Printivo has secured contracts with leading global brands operating in Nigeria, including Google, Uber, Samsung, DHL and Etisalat. After one year of operation, they have serviced over 3,000 customers and currently on track to fulfilling 1,000 orders per month. The company is now clearly positioned to be the primary print outsourcing partner to the 17 million active Nigerian SMEs in Africa’s largest economy, with a goal to be the Pan-African e-print platform of choice.

Wale Ayeni, Investment Director at EchoVC Pan-Africa Fund adds: “The lightning speed at which Printivo has changed Nigerian SMEs’ print purchasing habits and built a customer base that runs into the thousands is impressive, and was a key driver in our decision to invest. EchoVC sees print in Africa as one of the continent’s ‘iceberg micro-economies’, a below-radar but very large and viable industry with enormous scope for growth. The team’s homegrown expertise and innate understanding of the market, their commitment to great design and innovation in print, their ability to grow long lasting customer relationships and their focus on customer service equates to them being best placed to lead the digital printing revolution on the continent. The founders’ focus on building a community of co-dependent participants in the print economy has also kick-started significant
job creation possibilities.”

http://techcabal.com/2015/10/15/digital-printing-startup-printivo-closes-on-seed-funding-from-echovc-partners/

[size=18pt]Kunle Adeyemi (founder of NLE Architects) Designs a Solar-Powered Floating School for the Flood-Prone Coastline of Nigeria[/size]


For the community of Makoko of Lagos, Nigeria life on the water is nothing new. Prone to flooding, residents have dealt with encroaching waters for generations by building houses on stilts and using canoes as their main source of transport. Now, with the threat of sea level rise from climate change, and developers who want to tear the community down, Makoko is in a state of uncertainty. Nigerian-born architect Kunle Adeyemi has a vision for the city of 250,000 people that involves constructing a group of floating structures that have better access to sanitation, fresh water, and waste disposal. His first endeavor would be to build a three-story school held afloat by plastic drums.

After a trip to Makoko in 2009, Adeyemi was inspired to improve upon the main primary school that served the waterside settlement. His design, which will accommodate 100 students, will use 256 plastic drums to keep it resting on top of the water, and the frame will be constructed with locally-sourced wood. Electricity would be provided by solar panels on the roof, and rainwater harvesting would help operate toilets. The school is nearly finished, and the entire cost should total around $6,250.

Projects like Adeyemi’s could be the beginning of a trend followed throughout coastal Africa. “The building can be adapted for other uses, such as homes or hospitals. Ultimately, it’s a vision that can be used to sustainably develop [African] coastal communities.” said Adeyemi. While the government is reluctant to permanently establish the dozens of settlements in the city’s waters, tentative backing has been given by local officials. In recent years, nearby cities in Lagos have been reclaiming the water using land pumped from the ocean floor. Adeyemi’s strategy would work with the propensity for storms and rising tides to flood the area instead of fighting against them, setting a possible example for future developments in the country.

I'm kicking off today with my favourite artist right now - the amazingly talented Kehinde Wiley.

Aareonakakanfo:




Hahaha these measures are too obvious and they appear too direct.


-Building shopping malls accross the south-west is a better alternative

-Generally they thrive in lawless environments, they're like mexicans so state police is also a good option

-Like i said in my previous comment,all subjects in south-west schools should be taught in Yoruba language.Anyone who's not comfortable with that can go back to his/her cave

These are the subtle measures i can think of right now

lol. ..you really want to cut the great Yoruba Nation from the major part of the world.Just imagine your son been asked what his name is and he says...KINI E WI, ,SIR..lol.
I think a Yoruba Youth Academy kind of thing can be established in each local govt that will encompass the arts,the sciences,ICT et al,vocation/packaging,biz/trading etc.Experts and professionals would be invited.Every working and employed Yoruba would contribute his or her stipend every month voluntarily of course. Incentives like being sent abroad or sent to higher institutions in Nigeria for scientists, ICT would-be-gurus etc and helping with capital without interest but remittances every month/year until every dime is paid back(all of these with good monitoring,of course.Remember,every Yoruba is a potential success...

[size=14pt]Kehinde Wiley[/size]



Kehinde Wiley was born in Los Angeles, California in 1977. His father is Yoruba from Nigeria, and his mother is African-American. As a child, his mother supported his interest in art and enrolled him in after school art classes. At the age of 12, he spent a short time at an art school in Russia. Wiley did not grow up with his father, and at the age of 20 he traveled to Nigeria to explore his roots and meet him. He earned his BFA from the San Francisco Art Institute in 1999 and his MFA from Yale University, School of Art in 2001.

Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists--including Reynolds, Gainsborough, Titian, Ingres, and others--Wiley engages the signs and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world.

By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. Wiley's larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

Initially, Wiley's portraits were based on photographs taken of young men found on the streets of Harlem. As his practice grew, his eye led him toward an international view, including models found in urban landscapes throughout the world--such as Senegal, Dakar and Rio de Janeiro, among others--accumulating to a vast body of work called, "The World Stage." The models, dressed in their everyday clothing--most of which are based on the notion of far-reaching Western ideals of style--are asked to assume poses found in paintings or sculptures representative of the history of their surroundings. This juxtaposition of the "old" inherited by the "new"--who often have no visual inheritance of which to speak--immediately provides a discourse that is at once visceral and cerebral in scope.

Without shying away from the complicated socio-political histories relevant to the world, Wiley's figurative paintings and sculptures "quote historical sources and position young black men within the field of power." His heroic paintings evoke a modern style instilling a unique and contemporary manner, awakening complex issues that many would prefer remain mute.

An Economy of Grace, Wiley’s debut exhibition at Sean Kelly gallery, marked his first-ever series dedicated to female subjects. An award-winning documentary film about the process behind this exhibition was directed by Jeff Dupre and produced by Show of Force.

Kehinde Wiley received his MFA from Yale University in 2001. Shortly after, he became an Artist-in-Residence at the Studio Museum in Harlem. Wiley’s work has been the subject of exhibitions worldwide and is in the permanent collections of numerous museums including the Metropolitan Museum of Art, New York; the Studio Museum in Harlem; the Denver Art Museum; the Los Angeles County Museum of Art; The Hammer Museum, Los Angeles; the Walker Art Center, Minneapolis; the High Museum, Atlanta; the Columbus Museum of Art; the Phoenix Art Museum; the Milwaukee Art Museum; the Jewish Museum, New York; and the Brooklyn Museum, New York. Wiley will be the subject of a solo exhibition at the Brooklyn Museum in New York in 2015.




[img]http://www.npg.si.edu/exhibit/recognize/images/02-07_full.jpg[/img]














[img]http://www.npg.si.edu/exhibit/recognize/images/02-06_full.jpg[/img]

Moving to entertainment now.

Yoruba actors and directors killing hollywood.

[size=14pt]Rick Famuyiwa[/size]



Rick Famuyiwa is a Nigerian-American Hollywood writer and director of films such as The Wood (1999), Brown Sugar (2002), Talk to Me (2007), and Dope (2015).

Famuyiwa is a graduate of the University of Southern California (USC) and has Bachelor of Arts degrees in Film & Television Production and Critical Studies, from the USC College of Letters, Arts & Sciences and the School of Cinematic Arts, respectively. Rick Famuyiwa is a member of the Director’s Guild of America.

Rick Famuyiwa grew up near Los Angeles, California in the City of Inglewood. The son of Nigerian immigrants, Famuyiwa is a first-generation American. Reflecting on his time growing up in Inglewood, Famuyiwa recounts, “The thing you gotta understand about L.A. is that everything is suburbia. Los Angeles isn't set up like San Francisco or New York. People come to L.A. and they expect to see a ghetto like the projects, but that's not the way it's set up. Inglewood, in particular, is the furthest thing from a ghetto. It's a middle-class community, but it's gotten a bad rap over the years...because of Grand Canyon and Pulp Fiction and other films.” Famuyiwa continues about his hometown, “I would be lying if I said there isn't a negative element in the city, but I would say it's no different than any other city. You come across gangs and you come across negative things -- but it's like everywhere else, if that's what you gravitate toward and that's what you want to do, you're gonna find trouble no matter what you do. But we were never into that. My group of friends were never into that.”

After high school, Famuyiwa attended the University of Southern California (USC) and double majored in Cinematic Arts Film & Television Production and Cinematic Arts Critical Studies. During his time at the University, Famuyiwa worked intimately with film professor Todd Boyd, who would later help write and produce his first feature film. In 1996, prior to graduation, Famuyiwa created a 12-minute short film entitled Blacktop Lingo that garnered critical positive feedback and led to his invitation to the Sundance Filmmaker’s Institute. In 1997, during his time at the Sundance Director’s Lab, Famuyiwa perfected his craft and put the finishing touches on The Wood, what would later be his first feature film. In 1999, Famuyiwa married Glenita Mosley whom he met at the University of California, Los Angeles