🐐 🐐 Goat Matata

@GoatMatata20

I finished my PhD in 2 days, won 8 billion dollars in funding, and have published 18 thousand articles.

Joined July 2020

973 Following

101 Followers

783 Posts

GoatMatata20 retweeted

Paddy Power @paddypower

10 days ago

England rightfully get a freekick after Jordan Pickford takes out the Ghana forward.

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🐐 🐐 Goat Matata @GoatMatata20

11 days ago

Senegal so unlucky, to be put in that group of death 💔

🐐 🐐 Goat Matata @GoatMatata20

11 days ago

Someone check the Polymarket account of this Senegalese keeper

🐐 🐐 Goat Matata @GoatMatata20

11 days ago

Players World Cup wanaogopa kucheza na radi kwani wao ni wanawake?

Who to follow

GoatMatata20 retweeted

Bandari Football Club @BandariOfficial

2 months ago

🔵 | DEFEAT FT: Bandari FC 1 V 2 Ulinzi Stars #BandariNiYetu #SportPesaLeague #TwendeGame

GoatMatata20 retweeted

Ms.B🎀 @simplyBettie1

2 months ago

Someone said that even if you wake up early, the worm is not in Uganda 😭😭😂😂😂🙌🏽

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GoatMatata20 retweeted

WARÚHIÚ

@kamauwaruhiu

2 months ago

There’s a relative we saw suffering and decided to help. She’s a single mum of 2. We decided to educate her kids and take that burden from her. She recently said in a family gathering, "Sasa hata mkilipa shule na watoto hawana chakula, hamjanisaidia." I wish I was making this up.

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GoatMatata20 retweeted

. @Bearded_Leon

2 months ago

Ukiona mtu anaongelea local football, NSL/ KPL , grassroot ama county leagues, just rt that tweet. Kwanza this derby need all the hype. Make local footy great again #FootballKE

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GoatMatata20 retweeted

I. Cox

@IanECox

2 months ago

Patrick Mukabi (1969-2026) 🇰🇪🎨 Few Kenyan institutions captured the cheerful bustle of middle-class aspiration quite like Java House. Its walls, adorned with the robust, kanga-clad women of Patrick Mukabi, offered a visual anthem to everyday resilience: market traders with baskets balanced on heads, mothers whose ample forms suggested both abundance and endurance. Mukabi, who died this month after a long battle with diabetes that culminated in amputation and intensive care, painted a Kenya that was neither idealised nor pitied but simply observed.. with warmth, volume, and unapologetic colour. Born in Nairobi in 1969, the fourth of seven children, Mukabi (known affectionately as “Panye”) began drawing young, inspired by Catholic imagery and encouraged by a father who worked for Kenya Railways. After a certificate in graphic design at what is now the Technical University of Kenya, he returned to his first love: painting, mostly in acrylic on canvas. His focus was the human figure, above all women engaged in the ordinary commerce of life.. hawking, carrying, conversing. Layers remained visible; the process was transparent, much like the man. His style was instantly recognisable: voluptuous forms rendered with directness and dignity, sunlight suggested rather than depicted, movement captured without fuss. Critics sometimes called it accessible; in truth, it was democratic. Art, for Mukabi, belonged not in rarefied galleries but on the walls of cafés where ordinary Kenyans met over coffee. Java House commissioned him extensively; his work also graced airports and private collections. He exhibited in more than 20 countries, yet never lost the habit of teaching. At Dust Depo, his studio beside the old Railway Museum.. practically on the tracks of his family’s history.. he ran an open-door academy. Aspiring artists, local and foreign, found space, advice, and often materials. Children’s classes on Saturday mornings (some televised as “Uncle Supuu” on Citizen TV) introduced a generation to brushes and bold hues. Many of Kenya’s younger painters passed through his mentorship; he was, as one curator put it, the closest thing the scene had to a godfather. Generosity came naturally, sometimes to his financial detriment. He gave works away cheaply or for free, undervaluing his own output in a market that rarely rewarded seniority. Mukabi’s own life had railway rhythms: travel, teaching, exhibition. He spoke of Michelangelo as a mentor across centuries and painted from live models in later series such as “Cover Girls,” celebrating fuller-figured women who would never grace magazine covers but possessed their own majestic presence. Barefoot in the studio, he claimed he could not think with shoes on.. a small eccentricity that fitted the man who taught toddlers to slather paint “like jam on bread.” In recent years illness confined him to Kenyatta National Hospital. Fellow artists organised benefit exhibitions, “Mali Safi” among them, to cover mounting bills. The shows celebrated his legacy while quietly underscoring a familiar Kenyan story: a towering talent who gave more than he received. Patrick Mukabi leaves behind a visual vocabulary that has become part of Nairobi’s everyday scenery. His women endure.. self-assured, labouring, luminous.. on café walls where new generations sip coffee and, perhaps, notice the art for the first time. In a country still learning to value its own makers, he painted abundance where others saw only survival. Kenya’s art world is poorer for his passing; its walls, richer for his brush.

IanECox's tweet photo. Patrick Mukabi (1969-2026) 🇰🇪🎨

Few Kenyan institutions captured the cheerful bustle of middle-class aspiration quite like Java House. Its walls, adorned with the robust, kanga-clad women of Patrick Mukabi, offered a visual anthem to everyday resilience: market traders with baskets balanced on heads, mothers whose ample forms suggested both abundance and endurance. Mukabi, who died this month after a long battle with diabetes that culminated in amputation and intensive care, painted a Kenya that was neither idealised nor pitied but simply observed.. with warmth, volume, and unapologetic colour.

Born in Nairobi in 1969, the fourth of seven children, Mukabi (known affectionately as “Panye”) began drawing young, inspired by Catholic imagery and encouraged by a father who worked for Kenya Railways. After a certificate in graphic design at what is now the Technical University of Kenya, he returned to his first love: painting, mostly in acrylic on canvas. His focus was the human figure, above all women engaged in the ordinary commerce of life.. hawking, carrying, conversing. Layers remained visible; the process was transparent, much like the man.

His style was instantly recognisable: voluptuous forms rendered with directness and dignity, sunlight suggested rather than depicted, movement captured without fuss. Critics sometimes called it accessible; in truth, it was democratic. Art, for Mukabi, belonged not in rarefied galleries but on the walls of cafés where ordinary Kenyans met over coffee. Java House commissioned him extensively; his work also graced airports and private collections. He exhibited in more than 20 countries, yet never lost the habit of teaching.

At Dust Depo, his studio beside the old Railway Museum.. practically on the tracks of his family’s history.. he ran an open-door academy. Aspiring artists, local and foreign, found space, advice, and often materials. Children’s classes on Saturday mornings (some televised as “Uncle Supuu” on Citizen TV) introduced a generation to brushes and bold hues. Many of Kenya’s younger painters passed through his mentorship; he was, as one curator put it, the closest thing the scene had to a godfather. Generosity came naturally, sometimes to his financial detriment. He gave works away cheaply or for free, undervaluing his own output in a market that rarely rewarded seniority.

Mukabi’s own life had railway rhythms: travel, teaching, exhibition. He spoke of Michelangelo as a mentor across centuries and painted from live models in later series such as “Cover Girls,” celebrating fuller-figured women who would never grace magazine covers but possessed their own majestic presence. Barefoot in the studio, he claimed he could not think with shoes on.. a small eccentricity that fitted the man who taught toddlers to slather paint “like jam on bread.”

In recent years illness confined him to Kenyatta National Hospital. Fellow artists organised benefit exhibitions, “Mali Safi” among them, to cover mounting bills. The shows celebrated his legacy while quietly underscoring a familiar Kenyan story: a towering talent who gave more than he received.

Patrick Mukabi leaves behind a visual vocabulary that has become part of Nairobi’s everyday scenery. His women endure.. self-assured, labouring, luminous.. on café walls where new generations sip coffee and, perhaps, notice the art for the first time. In a country still learning to value its own makers, he painted abundance where others saw only survival. Kenya’s art world is poorer for his passing; its walls, richer for his brush.

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GoatMatata20 retweeted

Ibrahim Kalange @ibrahimkalange_

2 months ago

Tourist arrives by jet fuel. ✅ Tourist reaches hotel by jet fuel? Apparently Uganda's national parks have runways now. 😂 Ugandan reaches work by... staying home, because where are you going? Which part of this plan includes us?