Wednesday, 12 August 2015

ADELEKE UNIVERSITY POST UTME TEST NOTICE -



Adeleke University hereby invites candidates for provisional admission/ Post-UTME and Direct Entry Screening Exercise for 2015/2016 Admission scheduled as follows:
DATE:   12th, 13th, and 14th of August, 2015.    
TIME:   10:00AM. Daily
Eligibility: Candidate with 2015 UTME and OND/NCE/IJMB for Direct Entry.
Venues:
  1. MAIN CAMPUS: Adeleke University, Ede, Osun State
  2. ABUJA:Babcock Guest House, 11-13 Hambori Str. Behind Rockview Classic Hotel, Wuse II, Abuja
  3. LAGOS: No. 100, Kudirat Abiola Way, Oregun, Lagos
  4. PORTHARCOURT: Wisdom Gate International College 146/148 East-West Road, Elrogbolo, Portharcourt
  5. IBADAN: West Nigerian Conference Headquarters of Seventh-Day Adventist, Oke-Bola, Ibadan
  6. JOS: North-East Conference Headquarters Anguldi, Bukuru
  7. ABA: Adventist Technical High School, No. 1, New Umuahia Road, Ogbor Hill, Aba.
Available Faculties and Courses:
Faculty of Arts:  English Studies; Religious Studies; History and International Studies                                      
Faculty of Health Sciences: Public Health
Faculty of Business and Social Sciences: Accounting; Business Admin; Economics; Mass Communication; Library and Information Science; Political Science; Public Admin.
Faculty of Engineering: Civil; Mechanical; Agricultural; and Electrical/Electronics Engineering
Faculty of Law:  LAW: LL. B (Hons.)
Faculty of Science: Microbiology; Biochemistry; Computer Science; Physics, Chemistry, Biological Sciences, Mathematics.
SPECIAL FEATURES: Friendly composite school fees, (Tuition, Accomodation & Meals all inclusive); AND FLEXIBLE PAYMENT OPTION FOUR (4) INSTALMENTS.
Application forms of N5,000/N10,000 can be obtained at the screening venues as stated above.
Payable to any of : First Bank – 2026924566; Unity Bank – 0022941545; Wema Bank – 0122041213.
For qualifications and requirements for admission please visit - www.adelekeuniversity.edu.ng OR refer to: The Sun Newspaper of April 21, 2015; Tribune Newspaper of April 23, 2015; Guardian Newspaper of June 26, 2015; and Punch Newspaper of June 30, 2015.
You may also contact the Office of the Registrar, Adeleke University, Ede (AUE)
or call any of the following numbers: 08068202021, 08060019561, 08123997126.
Ven. Olusegun O. Ojo
Registrar

Wednesday, 22 April 2015

30 DAYS IN ATLANTA: A CRITIQUE


The 30 Days in Atlanta comic Film, I must say with all sincerity and bluntness was well received by the general audience but was met with mixed to negative critical reviews. Critics like my humble self cannot help but posit that the comic relief intended in the film is totally stereotype and that it’s just a mere combination of various scenarios from Popular works of other prominent comic Actors not to mention their names. The Nollywood movie  released in 2003 about a popular funny man from the Eastern part of the country who travelled abroad and caused some funny troubles and all; and the very popular Yoruba movie released in 2011 about the village girl who comes to the city and becomes a ‘Bigss-Girl’.
I for one failed to actually see the reason to laugh in most of the scenes in the Ayo Makun directed movie and it’s quite disheartening that I was quite upset that a close friend of mine, whom we were supposed to see the movie together at the cinemas when it was premiered in Lagos, Nigeria saw it without me…lol….back to the matter. For the lengthy part of the about 2hr long movie, there was no originality and depth, lack of connection between the two (2) Actors ; Ramsey Nouah (Richard) and Ayo Makun (Akpors) lapses were evident, like every Nollywood or shallow work, I could see right through the plot way before it unfolded. There was really no ‘killer’ joke in most parts of the scenarios intended to make the audience laugh, Like the music world it’s just another ‘remix’ or should I say ‘remake’ of  a HIT!! It’s the same beat but different lyrics yet singing the same song. The quality of the production is just impressive with a few noticeable errors here and there but the comedy in the film is filled with familiar scenarios and themes.
Ayo Makun is a wonderful, talented, gifted, blessed, loveable, sellable, funny, creative, innovative, educative and informative stand-up comedian or MC. He is not all that as an Actor. His inability to really get out and interpret the role in a more natural way and his failure to put the AY show personae on hold and carve a new identity with Akpors further crippled the chances of adding a star to the rating of the movie. Yes, money was spent in putting the movie together and all, I think it really was and still is the marketing strategy employed by the sponsors and stakeholders alike that really spoke for the movie. Sentiments apart oh… 30 Days in Atlanta is not a movie you would want to watch over and over again.
Most popular artistes magazines, blogs, online fora and all gave their ratings; some giving 4 stars out of 5 stars and all. Different kinds of reviews have been posted. The few memorable scenes in the movie are probably the ones that offer any form of artistic impression or solace to its audience.

In conclusion, saying that 30 Days in Atlanta deserves a round of applause and not a standing ovation would be fair, just and in fact hitting the nail on the head in this submission.

Wednesday, 17 December 2014

AFROBEATS ABROAD







It’s the new sound of the moment, remixing the African pop of Fela Kuti for kids reared on grime, hip-hop and funky house. With stars like Kanye West wanting in, just how big will it get?
In London the Olympic year ushered in  at midnight on 31 December, the official fireworks playlist blaring out over the Thames moved predictably through Vangelis, Soft Cell, Shirley Bassey and Adele. But it was accompanied by one less obvious choice: D’Banj’s Oliver Twist. It may have been the first time most of the 250,000 revellers heard the hit-in-waiting from the Nigerian rap star, but it probably won’t be the last. At that moment, London DJ Abrantee, the man who gave the name “Afrobeats” to the hottest scene in the UK right now, was getting ready to fly to Egypt, where the very same song “tore the place apart” in front of a Cairo club crowd more used to house music. Most people are familiar with the Afrobeat styles of Fela Kuti – Afrobeats is something different; with the addition of the letter “s” comes a whole new chapter in global pop music.

Abrantee’s neologism describes a new sound – a 21st-century melting pot of western rap influences, and contemporary Ghanaian and Nigerian pop music – but it didn’t drop out of a clear blue sky. “I’ve been playing this music to three or four thousand people at African events in the UK for years,” he explains. “Things like the Ghana Independence celebrations or the Hiplife festival at the O2 in London last year. Bringing it to the mainstream is a different ball game, though – D’Banj getting played on New Year’s Eve at the Thames, that kind of certifies it now – this is serious! For years we’ve had amazing hiplife, highlife, Nigerbeats, juju music, and I thought: you know what, let’s put it all back together as one thing again, and call it Afrobeats, as an umbrella term. Afrobeat, the 60s music, was more instrumental – this Afrobeats sound is different, it’s intertwined with things like hip-hop and funky house, and there’s more of a young feel to it.”
Abrantee is unfailingly cheerful, 30 years old, and astonishingly busy, his two BlackBerrys buzzing constantly even on a Sunday evening. He hosts a radio show six days a week on Choice FM in London, yet when we meet his DJing has already taken him to Africa twice in 2012, and this is only in the first week of January. On his weekly Saturday night Afrobeats radio show, and for his forthcoming UK tour, the playlist is almost all Ghanaian and Nigerian – Africa’s just too big to keep up with all its other genres, he laughs. “This is specifically the western African sound: there are a lot of shared ideas between these two neighbouring countries. I see Afrobeats as music which makes the heart beat. And it’s funky, and hyped, and energetic and young.”
It certainly is young – Abrantee only coined the term when his Choice show launched in April 2011 – but Afrobeats has found its way on to the MP3 players of a generation of under-18s looking for an alternative to British urban pop music. “It’s striking how young they are – when I do these Afrobeats events there’s thousands of people, and they’re all youngsters, really.” The kids are always the earliest adopters, though, so Abrantee reckons that this bodes well. “It’s like when funky house first came out; the youngsters all jumped on it, it was the new thing on the street, the kids were all on it. It was the same when grime first came out. And now it’s Afrobeats’ turn.”
This has had some amusing knock-on effects for black British fans. Abrantee has, he says, heard stories of UK-born kids saying to their African parents: “’Can I have some money to go to this Afrobeats rave?’ and they’ve gone, ‘Afrobeats? What is this, African music?’ – and the parents are really pleased, and proud, that their kids are all of a sudden embracing their culture. It didn’t use to be cool, but now they’re going through their parents’ record collections going, ‘Have you got this old song by Daddy Lumba?’.” He seems proud of having inadvertently united the generations. “I’m getting lots of tweets saying, ‘My mum loves you,’ or, ‘My dad’s blasting your mix CD.’”

For 16-year-old Natasha, whom I find sodcasting – playing music in public through her phone – with her friends at a Hackney bus stop, it’s just the ultimate party music: “Afrobeats is the best thing to dance to right now, it’s got the best vibe,” she enthuses, as her friends look for that same D’Banj song on their phones, in order to demonstrate.
It’s not just the Afrobeats fanbase that’s growing rapidly in the UK, but the interest from British and American urban music acts too. Ghanaian rap superstar Sarkodie has already collaborated with UK artists Donaeo and Sway, and a few weeks ago a video appeared on YouTube of him teaching Wretch 32 and Chipmunk how to do the Ghanaian Azonto dance, while they worked on songs together. “You’re going to see more and more UK artists doing Afrobeats collaborations now,” Abrantee says, pointing to further interest from Alexandra Burke and Tinchy Stryder. Meanwhile in the US, Kanye West has signed D’Banj, following his collaboration with Snoop Dogg on Mr Endowed; while last month Akon swooped to sign three Nigerian Afrobeats artists in one go, Wiz Kid, 2Face Idibia and P-Square.
According to Abrantee, the funky party sounds now emanating from Ghana and Nigeria are providing an injection of new energy into UK urban and US hip-hop. “The floodgates have opened. Music is always evolving, and everyone’s always looking for the next drug. Funky house has died out, grime is still there but it’s gone back underground, electro-pop’s got UK urban music in the charts, but that’ll die out too, it’s got a short shelf-life. So everyone’s looking for the next thing, the next hype – and people are finally noticing I’m getting 3,000 people coming out to dance to Afrobeats.”
For British-Ghanaian hip-hop stalwart Sway, who has been rapping over Ghanaian beats and collaborating with Accra’s finest for almost a decade, there are obvious similarities between the 1960s Afrobeat that swept the world and what’s happening now. “Fela Kuti is obviously a massive legend in the game, and what he was doing is not too different to what D’Banj is doing now – taking western influences and adding them to African culture, and coming up with something new, that appeals to everyone.”
Even with that history, Sway reckons that technology has heralded a highly accelerated three-way cultural exchange between Africa, America and Britain. “African music in Africa is evolving in relation to what’s going on abroad too. Via the internet they’re picking up certain trends much quicker: so for example you have Auto-Tune and western styles of singing cropping up on all these Afrobeats tracks.”
You can hear this influence on Nigerian rap star Ice Prince’s hits Oleku and Superstar, and, he says, Afrobeats itself marks a new musical progression: “There’s been a serious change in the music coming out of Africa lately,” he explains. “The sound is heavier and clearer, the videos are better, there’s been a positive growth in the African music scene. It was just a matter of time before people paid attention.”
And now, Sway’s peers in the UK and the US are waking up to Afrobeats’ secret: it’s accessible on so many different levels, but at its core it’s just irresistible pop music. For Sway, its power is blindingly obvious: “When you’ve got African swag and African traditions combined with up-to-date western styles, and singing in English, well – you’ve got a winning formula on your hands.”
(guardian.co.uk)


EVERY ARTISTE HAS A RIGHT


Every Citizen has Civil Rights that have been constitutionally provided by the Government(Democratic). The same citizens who choose to be creative, inspiring and the same time entertaining also have another group of Rights known as Fundamental Entertainment Rights.These Rights have been provided by all Independent Nations a.k.a Sovereign States and are legally backed up by the Constitution of Entertainment.
In the same vein there are other parties popularly referred to as clients/customers which i refer to as the "Appreciators of Art" who are also covered in the same constitution. They have the right to be entertained and fulfilled in whatever genre of Art theyshow interestor patronize.
This Blog is to show case the Art world in a critique perspective.....What i mean by that you will soon find out....Mean while i want to introduce myself..My names are Adedamola Obafemi Aina a.k.a Dreik. Thanks for joining me here...Watch out for what is coming next......