Legal Music and Movie Downloads from Ethiopia, Ghana, Tanzania, Kenya, Nigeria, Cape Verde, ...

Tilahun has escaped at last!!!

wuhibus — Mon, 20 Apr 2009 18:57:26 +0100

I can see how this news is affecting my soul; disturbing me in and out. I hate this fate... for being so far away from HOME, at this important day, not to be among the multitude millions of crowd of my people in Ethiopia, and cry out my desperation, anger... and humility. His life and career had been symbolically representing the lives of millions of the owners of those words and messages, the subjects of that Land, Ethiopia. His words and musics were a de-facto spokesperson for many of us ... . This Man has raised my consciousness since I was born, he has played a very important role in shaping my views towards my culture, my people and my beloved country... his overwhelming quinching gestures of the right respect and tribute to those who served their country, bled for Ethiopia; and his diminishing voice and words-of-sword upon those who betrayed their land; all will be remembered and kept in our hearts. He mobilized a whole nation in love, war and peace, for that Ethiopia. The legend has at last passed out, or shall I say rested; leaving us with these broad-day light thieves and robbers, who have been torturing/ killing, burying him alive; by humiliating him, and those who make it their duty of selling his songs without his knowledge and permission; and walk away free, laughing at our cripple judiciary system and his fans. Now he has died, his house is open to be robbed further, "go ahead and take away as much of his songs/properties as you like .... You bloody "Chigar-terriwoch". You will never make it up anyways. Tilahun has ascended, never will he come back and be hurted again. God mercy upon his soul! I wish "Mastaweqia Minister" saves his records and keeps his musics and other old musics clean. Even recent records are rusting in 'that building'. But what can we do with people like ... and his likes...? whose business has been to have any of our country's heritage and archives be systematically destroyed. It's just a sad time.wuhibus

MESMAT Musica's MATHIAS MAKONNEN

mattmak — Mon, 20 Jul 2009 13:10:11 +0100

Mathias Makonnen began playing Music at the young age of 16 watching his brothers Teddy Makonnen and Dereje Makonnen.First approached by the late Gennene Nebebe,Mathias continued in his musical carreer by backing legendary singers such as the late Tekle Tesfazgi.Teodros Desta (Drums) also played a vital role in jump starting Mathias Makonnen's professional musical career by offering the original membership in forming SEVANS BAND.Upon migrating to the USA,Makonnen was reqested by legendary singer Aster Aweke to join her Band in Washington D.C.- Soon after, Mathias backed Aster Aweke at the International Music Fest organized by David Sanborne (Academy of Music in Brooklyn ,New York).Mathias currently is touring with legendary singer Mahmoud Ahmed , on his "COME BACK TOUR" to the USA.

Books for Ethiopia

eaklil01 — Sat, 05 Sep 2009 04:32:36 +0100

Any one have any books to donate?

2 Days Left To Vote Please Help!!!!

Invisible System — Wed, 27 Jan 2010 23:38:22 +0100

Help us put some of Ethiopia into world fusion music :) 2 days left : Please vote for us as we are indie on
shortlist for best new cross cultural collaboration, band, artist,
album etc we are in all but new
artistsectionhttp://songlines.co.uk/music-awards/ You can win some
stuff - thanks :) forgot to add for those who asked it is Invisib...le
System, Punt (Made in Ethiopia)... - here it if you haven't here on Addis Tunes

Rebel Music: African Reggae

admin — Wed, 21 Jul 2010 21:04:30 +0100

This week we are celebrating African Reggae, with artists representing the entire continent – from Mauritania to Ethiopia to South Africa. If you are looking for sweet sounding reggae…free from the effects of Autotune…check out Sydney Salmon’s roots music or Sheba’s Ethio-infused lover’s rock. Or to get a full sampling of reggae from all over Mama Africa….look no further than “African Rebel Music.” If Dub is your thing, you MUST listen to how Tommy T and Akale Wube weave together jazz and reggae into an awe-inspiring musical tapestry. And to get the 411 on Dancehall, our man Eddie "STATS" Houghton's regular column for Fader Magazine is your source.1) Various: African Rebel MusicPresenting hits from 10 countries ‘African Rebel Music - Roots reggae and dancehall’ gives insight into the new reggae dancehall movement in Africa. 2) Sydney Salmon: Ethiopia is CallingStraight from Shashemane, Ethiopia….Syd is a musical virtuoso with a big voice…and big heart! Check out his new CD – produced and recorded in the land of Lucy and Selam – “Ethiopia is Calling.” 3) Sheba: Love this Lifetime ft. Bounty KillerLovers rock – known for its dedication the universal theme of “amor” – takes on a new dimension when Sheba and Bounty Killer team up for “Love this Lifetime.” 4) Akale Wube: Kokob / Meche Deresche ft. Haile SelassieThese guys are musical geniuses! Their ability to capture the essence of Ethio Jazz, overlayed with Dub sensibilities and the voice of H.I.M is brilliant! This song will always remain a classic! 5) Tommy T: The Prester John SessionsTommy T defies categories…and so does his music. But his homage to reggae is undeniable in “Oromo Dub.” Check out the man and his music! Tommy T is one of our staff picks…which means that you won’t be disappointed. 6) Addiis Calling: Reggae from EthiopiaOne of our favorite Blog-o-meisters…Eddie “STATS” Houghton…writes about Ethiopian reggae for Okay Player. Also, make sure to enjoy his insight into the dancehall scene for Fader Magazine in his regular column “Ghetto Palms.”

New Interviews for Invisible System

Invisible System — Sat, 14 Nov 2009 23:31:04 +0100

Invisible System Radio Prague interview in English (!) and Radio New Zealand interview both on www.harperdiabate.com

Invisible System Radio Prague interview in English (!) and Radio New Zealand interview both on www.harperdiabate.com
click on interview link

Love Letter to Teddy Afro

admin — Thu, 15 Jul 2010 17:43:44 +0100

My Dearest Teddy:We never officially met but I feel like I have known you my entire life. Although you probably have heard this many times before, I am your biggest supporter and your biggest fan. I was there at your first performance in New York and felt chills as you sang Abugida. That was the start of my admiration for you and while it has been tested, it only grows deeper with each passing day.Several years later, you brushed past me before taking the stage in Boston. I tried to speak but being so close to you left me in awe. Years later during your performance in Washington, D.C., we locked eyes and those short seconds were the most intense that I have ever experienced. Sometimes I can’t help but wonder if my face has ever reappeared to you. Maybe in your dreams, or perhaps during long days when you have some alone time reserved? If the answer is yes, then did you wonder long enough to give me a name? Perhaps I even inspired you to write a love song? See, to my friends I may be crazy, obsessed or just delusional but I mean it when I say I feel an undeniable connection to you.Continue reading on TsehaiNY.com here.

Azmari Singing - the Original Hip Hop

admin — Wed, 09 Jun 2010 02:00:38 +0100

A couple of years ago, I discovered a documentary filmmaker (actually, he calls himself an ethnographer) from Japan – Itsushi Kwase – who has an interest in Ethiopia. I find his short films compelling because it’s as if he allows his subjects to tell their own story. There is no commentary and no messages telling the viewer how to interpret what they are watching. That is left for you to determine. I find it refreshing that someone is giving me a chance to form my own opinions for a change. In one of his films, "Kids Got a Song to Sing," he follows two kids who are becoming skillful Azmari singers. For those of you not familiar with the Azmari singing tradition, it's akin to singing freestyle while playing either a masinko or a krar. Look out Mos Def, some of these kids got skills!!! In a sense, this tradition of lyrical gymnastics and improvization is just like hip hop. Watch the trailer for Itsushi's film below and get a musical "gursha" (or taste) of Azmari singing. Also, check out Yezina Negash on AddisTunes if you are really into Azmari singing. She recently showcased her talent on the Mulatu Astatke / Heliocentrics collaboration. O.k…roll the tape.

Review: Akale Wube Releases Self-Titled Debut CD

admin — Fri, 25 Jun 2010 19:12:38 +0100

by Nadia Ghanem The all instrumental French quintet Akale Wube was born in 2008 from the magnificent thigh of Ethiopian musical legacy – well almost, at least born from the eternal love for Ethio Jazz - the Ethiopiques collection awoke. They have now released their 12-track album 'Akale Wube' on Clapson, inscribing their five-branch mark onto Ethio Jazz's wall with tributes to all the crowned "negast," from Alemayehu Eshete to Muluqen Melesse, Mahmoud Ahmed and of course Mulatu Astatke. One of the most interesting aspects of all instrumental bands is how creative they get at transposing and reinterpreting the sung parts of a composition, and Akale Wube's repertoire is naturally based on songs. It is on this line of audio-pleasure that they strike: Alemayehu Eshete's voice is metamorphosed into a flute in Ayalqem Tedengo, in essence wood instruments and they fit Eshete's voice so ably - for his was, to my sense, soft and bendable like a reed. Your ears will meet in translatio-notation Muluqen Melesse's electrifying vocal leaps (in Djemeregne) now a flute and the tickle of guitar melodies. These transpositions and instrumental perceptions of Ethiopia's massive body of music, is really what makes this album stand out: in the midst of claps in verdant 'Bazay', originally by Tsehaytu Beraki, Akale Wube's flutist plays his flute like a trumpet and Mulatu Astatke's Metche Dershe becomes a raggae wink. Jawa Jawa conjured up Jacques Dutronc for me, but then I was in French mode, and it may be due to a serious groove of sax and trumpet. If a track defines an album I could not name one as each and all represent what Akale Wube has set out to achieve, but Metche New, orginally by Mahmoud Ahmed, stands in a class of its own. It is a hypnotizing track and by far my favourite. The discreet line of the electric guitar announces from the start that this is about to blow into a wicked riff of bass grit, percussions and sax, witness to the tears of the flute, which although wordless, cries and calls, explains in crotchets all the sadness and injustice it has known. I think this rendition was the furthest departure from the original and the most creative in conjugating yesterday with today. It is a track that puts to the fore Akale Wube's own originality and it definitely sets what these musicians can reach independently from their inspirations. Nadia Ghanem is a UK-based writer and poet currently researching Ethiopian legends and lore. Follow her on Twitter: (twitter.com/ayatghanem)

Black People Like T-shirts Too

admin — Fri, 21 May 2010 21:51:54 +0100

I love t-shirts. I’ve always loved t-shirts. I mean, when I was a kid and my father would take business trips…he better have had a t-shirt for me as a souvenir! For some odd reason, my procivity for collecting t-shirts from distant places still continues.Recently, while reading the wildly popular site "Stuff White People Like", I was relieved to discover that I’m not the only one who likes t-shirts. Apparently, it’s #84 on the list of things enjoyed by our brothers and sisters of European descent. According to the website’s founder, Christian Lander (for the purposes of full disclosure, we must point out that Mr. Lander is also white), “The t-shirt is one of the most complex and expressive items in their entire wardrobe.” Whewww…I thought it was just me.But wait…this raises another concern…I’m not white!?!?! Maybe it’s some residual genetics from an unknown European ancestor that fuels my passion for t-shirts? Will I have to cancel my NAACP membership? (Well, I'm not actually a member...but I'm just saying.) Can I still read Word Up Magazine? (Then again, I never have - but I've seen them from a distance at the barber shop when I was a kid.) Or, unbeknownst to Mr. Lander…o.k…let’s just call him Chris…is it possible that the external expression of one’s individuality through t-shirts is not the sole province of white people?Well…to test our hypothesis…we turned to the creative minds of Bernos, who are celebrating their 4th year anniversary as purveyors of African-inspired t-shirts. That’s right…black folks like t-shirts too – just ask Beshou of the wildly popular Bernos. Better yet, check out a recent interview she did with one of our favorite sites – TsehaiNY.com – and celebrate this precious freedom of expression through t-shirts with Bernos on Saturday, May 29th in D.C. with the insanely popular Meklit Hadero, Bsheba, and Munit at the Warehouse Loft. (Click here for details) And make sure to load up on more t-shirts – whether you’re black or white…enjoy weather, the holiday, and the freedom of expression through t's.

Happy Birthday Malcolm X

admin — Wed, 19 May 2010 15:38:59 +0100

Today is Malcolm X's birthday. This is one of those times where there really isn't much to say that hasn't been said. Sometimes reflection is better than discourse. Here's a great song by Myriam Makeba and Mbongi Makeba from their album "Myriam Makeba et Bongi" recorded in Guinea in 1975.

Where is Lemlem?

admin — Thu, 13 May 2010 17:16:41 +0100

“If you call woman African woman no go ‘greeShe go say I be Lady o”- “Lady” by Fela KutiThe African woman is legendary for her strength, courage, beauty, and indomitable spirit. Photographer Jenny Matthews brilliantly captured all of these qualities in Eritrea in 1988 when she snapped the photo of a woman soldier – known to us only as Lemlem – shortly after the battle of Afabet. Is it her youthful beauty and sultry pose juxtaposed against the AK-47 perched on her shoulder? Is it the spirit of courage and defiance against the constrictive traditional roles for women? Or is this photo an icon of the African woman’s often-ignored “her”-story on this planet? Perhaps it’s all these things that arouse curiosity…I first saw this photo on my friend's Bilen's FaceBook page. It intrigued me. Then one day my endless curiosity inspired me to ask, “What happened to this woman?" How come we know nothing about these women who stood shoulder to shoulder with men in the trenches? So many Eritreans know these stories intimately. However, the rest of us remain oblivious. After a little research, I learned that Lemlem also graces the cover of Jenny Matthews’ book, “Women and War” – which is a powerful photographic exposition of women’s untold contribution to the struggle for independence throughout the world. I asked Jenny if she knows the fate of her subject. She kindly responded, ”After Independence, I met ex-fighters in Asmara and I thought the women were having quite a hard time, the men seemed to prefer more docile city girls rather than the feisty women who had been in the EPLF ....” Unfortunately, there were no sightings of Lemlem.When I finally received my copy of “Women and War” in the mail, I had a chance to see something in the photo that I never noticed before – her eyes. They looked tired. The romantic notions of this “gun-slinging, no BS-taking, butt-kicking” African woman dissipated and I began to sense just how much the war had weighed on our heroine. War is very real ladies and gentlemen. It costs lives and scars the soul.Lemlem’s story is not the only story of Eritrean women soldiers. Thousands of Eritrean women courageously (and voluntarily) joined the ranks of their male comrades in order to contribute to the future of their nation. Here are women who were revolutionaries…not just for taking up arms…but for challenging the traditional roles of women in African society. Today, many of them are mothers, doctors, educators, etc. – but for millions, they will always remain heroes.O.k., if you weren’t curious before…I know you have to be curious now…Check out Barry Malone’s piece on Reuters: “Where is Lemlem?”Please join our Twitter campaign (#WhereIsLemlem) and “Where is Lemlem?” Facebook Group to stay up-to-date on our search for Lemlem.And definitely get a copy of “War and Women” by Jenny Matthews.In the meantime, we will continue our sleuthing. One day, we hope to tell you exactly what happened to Lemlem!!!

Why should one be proud of one's identity or country?

admin — Tue, 11 May 2010 03:39:36 +0100

by Elyas Mulu Kiros “I am a citizen of humanity first and by necessity, and a citizen of France second, and only by accident.” - Montesquieu First, let me state clearly that I am an expert neither on identity nor on nationalism, but I am only a student who is interested in issues related to Ethiopia; this article is just a reflection of what I feel as a young Ethiopian. Because Ethiopia is our birthplace, whatever happens there, it affects us deeply. When we hear or see good news, we feel happiness and pride. Similarly, when bad news hits, we feel anger, sadness, and shame. Among these various feelings that we experience, “pride” stands out. Pride and Identity One of the definitions of “pride” found in the Oxford dictionary: “A feeling or deep pleasure or satisfaction derived from one’s own achievements, the achievements of those with whom one is closely associated, or from qualities or possessions that are widely admired.” Being proud is always challenging as much as it’s important; it’s challenging because wherever there is pride, there is prejudice; it’s important because pride (i.e. self-respect) boosts self-confidence, and vice versa. However, excessive pride results in exaggerated self-importance and is a recipe for a disaster. Comparably, excessive humility destroys creative and productive potential. There is a saying in Amharic: “Yekerere Yibetesal” (i.e. extremism of any kind self-destroys). Consider the question: what makes one (proud) Ethiopian? This question was raised before I was even born, and still remains debatable despite the dozens of books and articles that have been written about it. Today, the duality of ethnic heritage and national identity is very common in Ethiopia; this dual identity is more or less similar to an American identifying herself as Latino-American, Korean-American, Polish-American, Black-American, Caucasian-American, and so forth—the ethnic or racial heritage does not diminish her “Americanness”, but embellishes it. Individual and collective identities can coexist as long as one does not destroy the other—this was the exact reason why individuals like Wallelign Mekonnen addressed the national question aggressively and sacrificed their precious lives in the 1960s, clearing the path for others to follow in their footsteps; though some people argue that those young people were “just in love” with the “Marxist-Leninist” ideals, it is difficult to completely discredit the genuineness of the youth movement and the crucial questions raised during that critical period in the history of Ethiopia. If the coexistence of ethnic and national identity appears impossible, consider your body as Ethiopia and the various organs that exist in it as the different ethnic groups; each organ has its own unique identity, but they also act as one. The individual identity and the collective identity can be a source of pride in a positive way when one tolerates the other and when fairness exists. But then the collective identity could become a source of discontent, forcing one to cling to one’s individual identity, while allowing opportunist minds to turn things around for their advantage, which could in turn lead everyone involved to identity crisis, to exaggerated self-awareness, or to unnecessary and bloody conflicts. Discontent happens when one oppresses and considers itself more important than the other, instead of celebrating diversity, tolerating differences, and sharing political and economic power fairly. My friend wrote me the following after reading the draft copy of this article: “The ethnic and national identity thing has also been an issue for me since I was a child. I was born in a Muslim Oromo dominated Bale. We had Muslim Oromo neighbors on all four directions. But I always sensed the underlying uneasy feeling my parents had about living in that province. My mother is Amhara through and through, my father believes he is Oromo—I say that because he claims his ethnic background from an Oromo grandfather who adopted his Amhara father, but his mother is Amhara through and through. So what does that make me? That was a question that always bugged me. Things got real when official circumstances needed that data. When I went to get my ID from kebele, my mother asked me which ethnicity I want indicated there, then when the census people showed up at our house and asked for ethnic backgrounds, there I was contemplating the issue again. My father’s slight disappointment that I identified myself as Amhara didn’t help the situation. But I got to that conclusion using the same way that he chose. He chose to be Oromo, despite knowing that he has no Oromo blood. So I just made a decision, I chose to be Amhara. I could have also said, my dad is Oromo so I am Oromo. But the thing is, I don’t think he is, he chose to be.” Another friend added: “I grew up in a family that sympathizes with the old idea of Ethiopia and which feels threatened by issues that arise based on ethnicity. Both my parents are fluent in Oromic and Amharic and have Oromo blood and they still hold their ground steadfast when it comes to their national pride. I always consider myself Ethiopian first and do not even want to think about my ethnicity; I have no tolerance towards people who are more proud about their ethnic background. May be it is through an extensive discourse we can get to the point where we feel comfortable about the existence of other groups with different ideologies.” I admire my friends’ honesty and crisp writing. They not only capture the identity dilemma that Ethiopians face today, they also delicately suggest, as shown in the second comment, one of the remedies for our nagging national problem: extensive discourse. I am sure that many agree with their stand just as many others would disagree. However, their openness is a great example of the extra mile this generation is willing to take in order to resolve conflicting ideas through debate and dialogue instead of the tried and tested methods of the past that have kept us in an unstable political environment. Mixed Ethnic (or National) Identity and Pride As many individuals have argued, a mixed background, though during the time of peace considered a source of cultural pride, during the time of political chaos could become a source of anguish and identity crisis; it could also force the individual to either pick sides or to remain neutral, both difficult options depending on the situation. Desmond Tutu, the South African cleric and activist, once said: “if an elephant has its foot on the tail of a mouse and you say that you are neutral, the mouse will not appreciate your neutrality.” Consider the Ethio-Eritrean case: now almost all Eritreans happily celebrate their independence from Ethiopia. The “liberation,” regardless of Eritrea’s domestic problems, has been a source of national pride, especially for those who fought during the war and for the young who were born after the war. The separation of Eritrea from Ethiopia, on the other hand, remains a thorny issue for Ethiopians who still desire to reunite the two countries for political, cultural, and economic reasons. The situation makes life more complicated for a child born from both Ethiopian and Eritrean parents, especially when the parents file for divorce because of the politics. It is even worse when you look at it from the perspective of Meles Zenawi, for example, who is half Ethiopian and half Eritrean - no wonder why some see him as “a cold Machiavellian rationalist,” an expression borrowed from a third friend of mine. A mixed background, apart from serving as a source of cultural pride, can force individuals like Meles to develop a calculating mindset because people are more likely to distrust them even when they are genuine, a case that Jawar Mohammed cleverly articulated in his recent article: “Tigrean Nationalism: From Revolutionary Force to Weapon of Repression”. Why should I be proud? Lemin? Limintay? Maalif? Should I be proud of being Ethiopian? No doubt, I should, but it has to be in a realistic manner; I have to carefully discern my source of pride. What is that makes me proud? In the Western media, Ethiopia has been synonymous with civil war, hunger, drought, population explosion, environmental degradation, diseases, and all the bad things that one could imagine, which for sure are not a source of pride, but humiliation. And there is the positive part: the cultural and linguistic diversity; the presence of Abrahamic and indigenous religions; the endurance and hospitality of our people; the capital city, which has always been a melting pot of contemporary art and politics, African or otherwise; the brave and patriotic freedom fighters who defeated colonial and oppressive forces; our food and traditional dresses; the unique flora and fauna; fascinating anthropological, archeological, and historical sites; beautiful landscapes, lakes and mountains; untapped human talent and natural resources; and all the other exotic things we have, which absolutely are sources of national pride. Should I also be proud of my ethnic ancestry? No question, I should, because that is part of who I am; repressing or destroying my ethnic identity is impossible; I did not choose it, either—like Montesquieu, I could say it was by accident. However, I have to be careful with it, too, so to avoid ethnocentrism. My parents speak three languages fluently: Amharic, Afaan Oromo and Tigrigna; my mother has also been exposed to Anuak language and culture. They never found it a problem to speak this or that language and to cross between theirs and their neighbors’ culture. They do sympathize with the old idea of Ethiopia like my friend’s parents; they also take pride in their ethnic heritage. When I was little, my parents taught me their language so I can communicate with them; my father also made me recite the names of his ancestors until the 8th generation, which I barely remember now—he wanted continuity in tradition. My parents’ experience shows that there is an apparent difference between genuine ethnic pride and ethnocentrism; the former is concerned about self-awareness and cultural heritage, the latter is similar to religious fundamentalism, which undermines the common bond one has with others. My parents have seen bad times during the monarchy, derg, and now under ethnic federalism. They constantly warn me to stay away from politics because of the pain they endure (here I am breaking their rule). Ethnic federalism and pride Apart from my parents’ influence, I grew up hearing “ethnic federalism” like a mosquito buzz—just as children of the 60s, 70s, and early 80s were raised with “marxist and leninist” slogans. I am aware of the potential danger ethnic federalism poses to the nation-state. That it can destabilize the country through fragmentation of society unless the system is reformed. I say this not because I have the desire to sound like a prophet of doom, but I have witnessed how things could easily go from good to bad to worse where I grew up. However, I am also aware why the effects of ethnic politics will last for a long time to come even if the leaders are replaced. Seen from the perspective of the “oppressed” ethnic groups, ethnic consciousness is a gain, not a loss, because it has helped them re-embrace their cultural pride, and more than that, it can be used as an instrument to mobilize people and to achieve full-blown economic and political influence in the nation-state that proponents of ethnic federalism once labeled as “prison-house of nations and nationalities." Ethnic federalism has remained the mantra of this generation. The average elementary school student knows something about ethnic federalism, and the one in high school is as ethnic conscious as the one in college. I was one of those students; some of our teachers used to call us “guinea pigs”—it was a fitting title. I remember when my pen friends in Addis took their 8th grade national exam in English, I took mine in Amharic, others in Afaan Oromo, in Tigrigna, etc. I would have proudly considered learning in one’s language a breakthrough had the government not rushed, poorly implemented, and politicized the program—we did not even have text books when we started; as we passed from one grade to the other, books were still scarce and arriving late. I remember how our teachers struggled, but their dedication and determination helped us overcome the challenge. It is obvious that for a radical change to take effect someone has to pay the price, but when that someone is “you”, it is not fun, of course; no wonder why today's scientists test drugs first on guinea pigs or other animals. The Ethiopia that my 8th grader pen pal from Addis knew perhaps was not the same as the one I knew; for sure he or she did not see the bloody ethnic clashes that I saw in my own eyes in a remote village, in Oromia, in the mid-1990s (for which both the ruling party and its regional opponents of the time were responsible; only few people outside that zonal area knew what happened there) -- I am not talking about Arsi (a place which has been referenced several times either fairly or unfairly), but about events that transpired in Jimma zone. I am not also here to blame this or that ethnic group for the damage caused because the poor people who got involved (Gurague, Oromo, Tigray, Amhara, etc) were all victims - one group was sacrificed as a scapegoat, while the other was used as a weapon of revenge, and vice versa; I would only blame the political actors of our historical past and present. Politicians (particularly from the ruling party) still treat people, especially in regional towns and villages, like pawns on a chessboard. The people constantly live in fear that anything bad could happen at any time—perhaps, instilling fear is one of the chosen techniques of the ruling party (just like the old regime) to stay in power; or, maybe crippling fear and sporadic ethnic disharmony are the unavoidable by-products of ethnic federalism in its current form. Conclusion Cesar Chavez, the Mexican-American civil rights activist, argued, “once social change begins, it cannot be reversed. You cannot uneducate the person who has learned to read. You cannot humiliate the person who feels pride. You cannot oppress the people who are not afraid anymore. We have seen the future, and the future is ours.” This is true in Ethiopia’s case. Today, ethnic consciousness is pervasive and entrenched in the regions; even the capital city, where supposedly an enormous national pride overshadows ethnic identity, has remained the center of debates concerning ethnic federalism. My friend from Bale, quoted above, also included the following observation: “Everyday I get the feeling that we have made a U-turn somewhere, and whoever wants to go back on the previous lane is going to face a major opposition now. Because, now, people know. They know they can proudly say who they are and no one can tell them someone else is better than them based on their ethnic identity. We are all parts that make up the whole. I just wish we had the same vision for this ‘whole’ that contains us all and also makes up the major part of who we are.” I could not have said it better than her. When Ethiopian regimes change, what has been a gain for one has been a loss for others (or it has been perceived that way); a “change everyone believes in” still has to happen. When that happens, we may amend what has been damaged, keep what has worked, and discard what has failed; this will eventually strengthen our common bond. As the saying goes, no one can easily break the sticks when there are two or more in a bundle. We must aspire a “more perfect union” where the past remains history and the future looks promising. We already know extreme suspicion, division, mistrust and egoism will never let us move forward. For a lasting peace and sustainable democracy, we must encourage and support anyone who fights fire with water. I recently read an article* that Dereje Alemayehu wrote in 1993; the writer gave the the following piece of advice to individuals who live outside Ethiopia: “The Ethiopians in the diaspora have many special responsibilities and can help the cause of peace in our country in different ways. First of all, as we are living away from the scene of action, we should try to help de-emotionalise and de- personalise the political debates. Whichever of the contending parties we may support, an appeal for de-escalation and reconciliation has to be our primary concern. Consequently, instead of jumping on the bandwagon of nationalist movements, we should try to be “bridges”. Those of us who are not involved in organisations should try to facilitate discussions instead of being partisans…. “… our most important contribution towards peace and democracy should be directed to democratizing the decision-making process and cultivating the culture of solving all political problems by peaceful means. In economic theory, they say that it is not wealth as such, but the capacity to produce wealth which is fundamental. A solution can be outdated quickly. If the methods of seeking other solutions to every new challenge is not democratised, the country can go back to square once again. Finding workable solutions to the burning problems of Ethiopia depends on the success of democratizing and pacifying the decision-making process.” I rest my case. *** *Dereje’s article: A Diktat or a perspective for a democratic discourse? (A reply of a “national-nihilist” to a mature neopatriot) Email: elya.muki@yahoo.com Blog: www.destination-x.tumblr.com

Review: Imperial Tiger Orchestra Releases New CD

admin — Mon, 03 May 2010 07:33:04 +0100

Review by Nadia GhanemThe Imperial Tiger Orchestra is ready to roar from Geneva with Addis Abeba, a four track 12'', and eight track digital release that includes two passion bursting live performances, all on Absinthe Music & Mental Groove Records. This sextet melts in the heated copper of its brass and the Ethio scented wood and leather of its synth, bass and kebero crown, legendary beats and sounds with exploding improvised riffs. In this compilation, no less than Muluqen Mellesse, Mahmoud Ahmed, Abunesh Adinew, Tekle Tesfa-Ezghi, Getatchew Mekurya and Mulatu Astatke are conjured up. Imperial Tiger Orchestra's tone is dark and shamanic, its instruments have surrendered to the vibrations and shimmies of zar and ayyana acoustic-spirits. In this all instrumental band, musicians are no more, it is the instruments that rule, murmur and rage on pentatonic scales, inhale, exhale or lift melisma, so that they catch and breathe the traditional vocals of the legends that inspire their repertoire. 'Bati', 'Djemeregne', 'Etu Gula' and 'Harer Dire Dawa' - one of my favourite track - follow melody lines that spin and roll like dervishes. In the midst of its imperial musical universe, solos are given virtuoso-births to, then draw back to their ombilical orchestra's chord, so that another instrument gives itself to a solo whirling dance. The sweet tickles of the phin guitar in 'Selam Temagwet' move freely along well-wrought melodic and rhythmic motifs caresssing Eritrea gently. Then the scale-sky darkens and shellele calls in 'Aha Gedawo', ominous and revved-up, carried by the momentum of a fate-announcing drum and bass. Emnete Live, I have to say is my big favourite in this selection of Imperial Tiger Orchestra's art. The recognisable melody of the original by Mulatu Astatke is transposed so that it is a strong sax that dwells in the foreground. The ardor and frenzy that the sax and trumpet rip loose, unleashed by the bass, drums and percussions, are simply winged! I loved the bass solo. Being more than half-partial to rap, it was to my ears an instrumental type of rap, with sax spits, synth stabs, chord and drum flows teamed with bang on brass-word delivery. Catch the crazy sax line, you'll know what I mean. You could say that The Imperial Tiger Orchestra is an equality conscious and democratic band, no instrument takes precedence over another and the pleasure for the all-instrument-lovers is in tasting each and all, whether the play is solo, duo, all encompassing jamming sessions, calm or frenetic. There are many bands in recent times that come to the fore having incorporated Ethio-beats to their game, in parts or in its entirety. I expect that this will increase seeing and hearing the exceptional inspiration it gives bands such as Imperial Tiger Orchestra, an inspiration that seems to be as powerful and fierce as it is ancient. As a new listener, I can't help being caught smiling in wonder at the ever-present mythical and enduring Abyssinian Tiger who rides on time itself, carried by instrumental carriages, winking music magic at all generations. The Tiger roars, habesha, and how it roars! Nadia Ghanem is a UK-based writer and poet currently researching Ethiopian legends and lore. Follow her on Twitter: (twitter.com/ayatghanem)

Somalia: A Nation of Poets

admin — Sat, 17 Apr 2010 14:12:43 +0100

Many people know the Somali-born rapper K'naan for his hard-hitting and conscious lyrics. But what many people fail to realize is that K'naan is a modern-day incarnation of a strong tradition of poetry in Somalia. - which is as old as time, itself. We wanted to explore this poetic tradition and two poets - Anisa Hagi-Mohamed and Nimo Abdi Warfa - were kind of enough to take us on a guided tour. So buckle up and enjoy the ride through Somalia - a nation of poets. By Anisa Hagi-Mohamed & Nimo Abdi Warfa(http://somalipoets.blogspot.com/) Somalia is often referred to as the Nation of Poets. Many people have no idea that Somali culture is inextricably linked to its oral traditions of storytelling, poetry and proverbs. Our personal passion for poetry is unavoidable – it runs in our blood, literally. Our family tree has several poets, including Maxamed Cumar Dage who is known in Somalia as one of the greatest poets. To give an historical flavor, poetry has been integral to Somali life for a very long time, perhaps as long as the Somali people have existed. This oral tradition has been used by people from all spheres of life in Somalia – including the Bedouin camel herder, city dweller, government official, scholar and common man, alike. The 19th century British explorer Richard Francis Burton, who visited the Somalia, said, "The country teems with poets; every man has his recognized position in literature as accurately defined as though he had been reviewed in a century of magazines – the fine ear of this people causing them to take the greatest pleasure in harmonious sounds and poetic expressions. Every chief in the country must have a panegyric to be sung by his clan, and the great patronize light literature by keeping a poet." Poetry is used as a means to communicate feelings, morals and values, and as a tool to preserve history. Somali poetry has always been recited orally – and listened to more than read. In fact, the Somali language was first written in official script form in 1972. While there have been several books with compilations of Somali poems; most poetry continues to be shared orally, recited, memorized and performed. Even though Somalia is known as the Nation of Poets, not everyone who is Somali is a poet. As with every people, there are some who excel in this field and others who just appreciate it. There are more Somali men who are poets, but also some women. Women are known for Buranbuur – a type of Somali poetry that usually consists of praises for a person, clan, etc. Additionally, Somali poetry can be a powerful learning tool for the listener. When listening carefully to how poems are recited, we learn new lessons about life simply through the expression of the words. Even when listening to the same poetic verses over and over again, we do not get bored; rather we listen even more attentively. The poetry also helps preserve the Somali language. What is especially amazing is how most Somali poems are so thoughtful, rich and artfully constructed that you’d think you’re listening to generations upon generations of stories. So why is poetry so important to Somalis? Although the nation of Somalia has endured much and its wells have sometimes run dry, there is still a sense of hopefulness in her people. Their hope is fortified through their faith, which helps them endure unspeakable hardships. Poetry – like love and friendship – is given freely and flows from our hearts and mouths, almost as if to heal the soul. Poetry gives us hope, and reminds us of who we truly are and what we should look forward to in the future. Our poems are not simple rhymes; but rather they are intricate verses that warm the heart and inspire deep contemplation. The poetry also takes you back to a time when Somalia was not ravaged by war. It helps one see the Somalia that was once peaceful and prosperous. Poetry is the linchpin that keeps us connected to that place. God willing, we will remain a “Nation of Poets” that brings hope to our country from near and far. Somalia is our pride, our land, our home, our beauty, and InshAllah it will forever remain in our hearts. To give you a taste of Somali poetry, here is part of a poem called Seer by Maxamed Xaashi Dhamac 'Gaarriye': In my cradle I heard the women sing ‘In the name of God, “Yaasin”’: this is how we begin, with the dance step and the dance. I was playing ‘biito biiti’, singing ‘Bille-jire’– this is how Gaarriye grew. I suckled on hearsay, drank in lore: ‘A cloud in the east means rest your feet, the rain will trek to us.’ Dear friend, dear Burhaan, I was taught there are two types of poem: that which tells you how things are and that with another agenda – the people know which is which. When she brought me up, Biliso said, ‘If a poem is a farm then how things truly are, that’s water; the best words for the best thoughts, that’s how it begins. Justice is your only compost, life itself is what you hoe: just squeeze truth from what happens and in its own time it will sprout. ‘Whether a poem brings forth seeds depends on how it’s tended and by whom – the spot in which it’s planted; depending on who needs it and for what its husk is hulled or boiled. 'A poem is the measure for that trek beneath the draining sun each generation adds to; when you have to stand and fight it shows you where to point the gun. ‘It guides you like a conch shell horn, the call of the large camel bell; it is the words’ own bugle. It is the finest matting, woven for a bride, the one the song calls ‘Refuser of poor suitors’. It’s not sold for coppers, it’s not for praising the powerful; to put a price on it, any price, cheapens it and is forbidden. ‘It’s riding bareback on an unbroken horse – you don’t hobble its heels. Those who fear for their hides and won’t ride without a saddle, those lacking in the craft, can’t get near this: lies have nothing to do with it. Poetry is a woman you do not betray, to abuse her beauty is a sin.' [Literal translation by Martin Orwin/Final translated version by W N Herbert] Albiet translations cannot compare to the original language, the beauty of the poem is captured. There are various translated poems like this which can be found in books or online but the majority of poems are only in Somalia. In the future we hope to start a project to transcribe and translate famous poems so that Somalis and Non-Somalis alike can benefit. We hope through this article your knowledge has increased of poetry, and its importance in our Somalia, our home, our love and forever to be. Our words alone cannot do justice to this beautiful art, but we hope it has ignited a spark of interest and greater appreciation for both Somali and non-Somali alike. If you are interested in learning about some of the renowned Somali poets, there are many, including Maxamed. Cumar Dage, Dhoodaan, Sayyid Maxamed Abdallah Hassan (also known as the 'Mad Mullah'), C.B.C Qamaan, Raage Ugaas and Mohamed Ibrahim Warsame 'Hadrawi' (titled the 'Somali Shakespeare') among others. For Questions and Comments:Contact Anisa: anisabintyussuf@gmail.com Contact Nimo: mujahidah4life@hotmail.com

Tiyya Locals - Where Giving is Cool

admin — Tue, 16 Mar 2010 04:30:19 +0100

The French poet, playwright, and novelist Victor Hugo once wrote, “As the purse is emptied, the heart is filled.” He was reminding us about the real reward in giving and charity towards others. I was reminded of this quote when I was introduced to an exciting social entrepreneurship venture –Tiyya Locals – which is devoted to assisting the refugee community in America. The mother/daughter team who founded Tiyya Locals have partnered with the Los Angeles-based East African Community Center to provide newly arrived immigrants and families in need with everyday necessities as they make the transition to life in America. Since so many of these families have endured unspeakable hardships just to get to the U.S. (i.e. war, famine, political persecution, etc.), I think it's a wonderful idea to support our new neighbors who are in need.Tiyya Locals’ co-founder, Meymuna Hussein, explained, “In the Oromo/Ethiopian dialect, the word TIYYA is used as a form of endearment towards someone you care about – loosely translated as ‘my love’ or ‘my dear.’ We here at Tiyya Inc., would like to express our love to those suffering in our backyards of the United States.”Consequently, Tiyya Locals is selling anti-sweatshop, 100% organic cotton, free trade t-shirts printed with biodegradable ink in order to help provide basic needs such as food, clothing and furniture to local families and refugees in needs.If you are interested in helping this fledging organization give back a small measure of what you have received, they are always looking to partner with other like-minded individuals/organizations. And of course, don’t be too shy to buy. Summer is coming soon – so show off your new body in 2010 with a Tiyya Locals shirt. This year, the new black is green – and giving back is oh-so-cool.

TIA: African Sun Halo

admin — Mon, 15 Mar 2010 03:31:23 +0100

We believe in pushing the envelope and challenging status quo - which is why we are constantly looking to showcase images of Africa that you may not see anywhere. Learn more about our African photo series here.One of our favorite photographers - Emily Taylor - has worked her magic once again with this amazing photo of the African sun. Learn a little more about this photo below. "On Tuesday February 23, 2010, a sun halo appeared over Addis Ababa, Ethiopia and lasted for about two hours. A sun halo is an optical phenomenon produced by ice crystals in the atmosphere (5-10 km above us) creating colored or white arcs in the sky. This image was captured while young students played football in the streets of an Addis Ababa neighborhood. Sun halo's are an extremely rare phenomenon and are equally rare in their beauty."

Traditional African Music Radio

admin — Fri, 05 Mar 2010 05:38:18 +0100

When I first started collecting African music on vinyl, the selection available in the States was...well...ummm...how do I say this gently? Ok, I know....it sucked. A lot of the music was watered down, commercially acceptable music that fed the masses' preconceived notions about Africa.It wasn't until I became a serious crate digger and started connecting with other record collectors that I started to discover music that was simply mind blowing! A good friend of mine, Alioune, introduced me to the Super Boiro Band's "Musique Sans Parole" LP out of Guinea (a must have, if you haven't heard it). Another friend of mine gave me access to her deceased uncle's collection - which the family completely dismissed as worthless junk (oh, how mistaken they were).But in 2003, I hopped on a plane for Ghana, Nigeria, Chad, and Ethiopia...and it was ON!! I really had a lot of success in Ethiopia. I connected with two young dudes who just hang out in the streets...and we hit every conceivable corner of Addis Ababa. The music we found was sublime. Check out the fruits of our labor below:

This is Africa - Mulatu Astatke

admin — Fri, 19 Feb 2010 17:46:50 +0100

Emily Taylor is a photographic phenom living in Addis Ababa where she gives a voice to the voiceless and brings cultural awareness to a global audience. Her work includes international assignments and contracts with local media organizations, NGOs, and businesses in Addis Ababa. As iron shapes iron, it’s only fitting that this artistic prodigy crosses paths with one of the greatest musicians of all time – Mulatu Astatke. Here’s an image she captured while at a hot, new radio station in Ethiopia – Afro FM. "Mulatu Astatke, father of ethio-jazz and internationally awarded composer sits in on a conversation with Afro FM's "Breakfast Show" host, Linda Grove on Tuesday Feb 2nd in Addis Ababa. He left that night for London to receive yet another award and then off to the US and Australia for concerts. At the age of 67, his music has been used in film soundtracks such as "Broken Flowers" starring Bill Murray. Most recently, well-known contemporary musicians K'naan, Nas and Damian Marley used Mulatu's music as samples in now famous tracks. An afternoon with Mulatu Astatke was an honor and a pleasure. He truly is an inspiration for all African musicians around the world and especially here in Ethiopia." ~ Emily Taylor Photo

Music - The Weapon of Change

admin — Mon, 01 Feb 2010 06:35:45 +0100

Throughout the course of modern African history, music has often been a powerful weapon of resistance and revolution. Nowhere was this truer than in Angola during the period of Portuguese colonization. One of our favorite CDs, “From Angola to Brasil,” takes some of the most revolutionary Angolan music and updates it with tight remixes by Brazilian producers – who breathe new life into these classics. But in order to fully appreciate the music and its role in African resistance, we talked with Dr. Marissa J. Moorman who is a professor of African Studies at Indiana University (Bloomfield) and author of “Intonations: A Social History of Music and Nation in Luanda, Angola, from 1945 to Recent Times.” Here’s an excerpt from one of her articles, “Dueling Bands and Good Girls: Gender, Music, and Nation in Luanda's Musseques, 1961-1974" published in the International Journal of African Historical Studies, 37,2 (2Q04) 255 We hope this gives you an entirely new appreciation for this incredible CD! “Dueling Bands and Good Girls: Gender, Music, and Nation in Luanda's Musseques, 1961-1974" The extreme repression that began in 1959 and reached new heights after 1961 not only crushed political activity but also fractured the more explicit relationship between politics and culture that existed in the politico-cultural groups of the 1950S. Culture could no longer serve as a cover for politics or as a self-conscious political tool for sparking people's consciousness. At the same time, a new style of music boomed and local culture seemed more vibrant than ever. This new form of music, which is generally referred to as semba, and the cultural scene that grew up around it created a spirit of insurgency and of Angolan difference while reconfiguring the relationship of culture to politics. This was not a retreat from politics to culture by the nationalist underground, but an explosion of culture into politics by urban residents. Just as the PIDE (Policia Intemacional da Defensa e do Estado, or the Portuguese secret police) increased its pursuit of "enemies" and "terrorists," the Estado Novo instituted changes in colonial policy meant to assuage international criticism and convince the Angolan population that Portuguese rule was congenial to their needs. As many Angolans put it, Portugal finally started "to bet on" Angola and this produced some palpable, if extraordinarily belated, changes in everyday life. The colonial administration instituted nominal political representation, abolished the most egregious aspects of colonial rule, and promoted a social agenda of African-centered entertainment and recreation, all aimed at winning the hearts and minds of Angolans. Taking advantage of the colonial state's new receptivity to African cultural and recreational activities, some African civil servants opened more than two dozen clubs in the city's nine musseques. These clubs helped to spur the development of musicians and bands and they gave Luanda a new kind of nightlife and form of recreation, albeit one with strong cultural antecedents in the musseques of the 1940s and '50s. Angolan popular music exploded in this period and became the first among cultural practices. This resulted from African entrepreneurial initiative in opening clubs and the combined efforts of African- and European-financed activities in developing a network of radio stations, a nascent recording industry, and a series of street- and cinema-based music festivals. Amateur radio clubs and later a state broadcasting system meant that locally produced music could be broadcast to and from various places throughout the colonial territory. Street festivals in the musseques drew huge crowds from across the city, creating a circulation of people between various neighborhoods that otherwise would not have occurred to the same extent. Bands traveled to other cities in Angola and most urban centers had clubs, although the Luanda scene was the largest and most vibrant. People came together and related to each other in new ways because of music. While students of politics characterize the period from the outbreak of violence in 1961 to the revolt in April 1974 by the Portuguese military (which eventually led to independence in 1975) as violent and politically repressive, Luandans remember it both as a period of limited economic advancement and as the golden age of Angolan music. Armando Correia de Azevedo depicted the music festival held at a musseque cinema as "packed full! It was applause, and happiness, it was a tremendous confusion to go to Ngola Cine—they called it the Olympia of Angola!"^ Yet it is also the period in which the MPLA, the FNLA, and UNITA guerrilla forces were fighting the Portuguese military in northern and eastern Angola.'" Thus the music of the golden age was produced in the context of the struggle for independence. This is the music that many regard as "authentically" Angolan, free from the political sloganeering of music from the post-independence civil war-torn 1980s and from the overly foreign influenced music of the 1990s. Musicians remember this period as one in which they were able to develop artistically, in which some of them could even make a living from their art and in which everyone shared the same desire: Angolan independence." Download the entire article here. Purchase “Intonations: A Social History of Music and Nation in Luanda, Angola, from 1945 to Recent Times” here.Download "From Angola to Brasil" here.Listen to "From Angola to Brasil" below.

This is Africa - Children at Play in Addis Ababa

admin — Mon, 01 Feb 2010 16:23:27 +0100

As part of our African Photography series, here is a priceless image from one of our favorite people on Twitter. As always, we encourage you to send photos of the "Real Africa" for the world to see. For more details, click here. "This is a pic of my precious little cousin at a fair that was held at the Exhibition Center in Addis, summer of '06. I wanted to share this picture because I feel like we are so often subject to portrayals of African (especially Ethiopian!) kids as starving and deprived. I don't discount the fact that poverty is an undeniable reality for too many African kids; however, I wanted to show through this photo that there are many facets to life in Africa and all are equally as REAL."~ H. Heywot

Photograph the Soul of Africa

admin — Tue, 19 Jan 2010 05:04:23 +0100

I love photos. I'm not a photographer. But I can stare at photos of distant places and people for hours on end. Whenever I read about events on the other side of the planet, I try to find photos of the places, the people, the terrain, etc. But in all honesty, when I see photos I feel as if they are giving me a glimpse into the soul of the subject as well as the photographer.The famed photographer, painter, and curator Edward Steichen once said, "Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man."Too often the images from the African continent fail to offer any meaningful explanation of life - only misery. Fortunately, there is so much more in Africa than what we see in the media. So AddisTunes is launching a crusade to showcase high quality photos that capture the essence of life in Africa. From the seemingly mundane to the most noteworthy of events, we want to display your work. Professional and non-professional photographers, alike... we welcome your submissions.Just send us your photo of choice with a brief description of the subject, and we will display a new photo each week for the world to see. Upload your photos to any number of FREE file sharing sites, such as the following:www.photobucket.comwww.mediafire.comwww.zshare.netSend us a link to download the photo at photos@addistunes.com.

10th Annual ESAI Summit in Toronto

admin — Fri, 15 Jan 2010 06:33:01 +0100

Student activism throughout the Diaspora today is a continuation of the revolutionary fervor that inspired the student movements of the 1960s. In almost every country - from the U.S. to Ethiopia - students have helped lead the fight against exploitation and discrimination. Rather than relying on Socialism as their rallying cry, student organizations today tend to use group participation, technology, cultural identity, and their collective commitments to freedom and human rights as their weapons of choice. One of the premier student organizations today is the Ethiopian Student Association International (ESAI), which is a non-political and non-religious organization whose mission is to bring Ethiopian students all over the world together to build a stronger community. On March 25, 2010, ESAI will launch its 10th annual summit in Toronto, where they are expecting a record turnout. For a student organization, with no official affiliation to a particular university, to maintain such consistency and continuity is truly remarkable. But to give you a better appreciation of the ESAI, it’s worth giving a brief overview of the group’s history. In the summer of 1999, a student named Wubeshet Mehari at Marymount University founded ESAI by galvanizing different Ethiopian Student Associations/Unions in the Washington D.C., Maryland, and Virginia areas through their shared desire to build a community to exchange ideas, celebrate culture, and mobilize resources. By September, 1999, Wubeshet and his brother, Kiber, had created a web site and a listserv for the new organization, and by the end of the following year ESAI had over 2000 registered members. Come join this remarkable group of students from March 25 through March 28 at Ryerson University in Toronto where keynote speaker Samson Teffera will focus on themes of networking, empowering, and succeeding. To learn more about this historic event, visit the ESAI Summit homepage here, where you can view the full itinerary.

Afripop Reports Kenna Climbs Kilimanjaro

admin — Wed, 13 Jan 2010 18:24:57 +0100

Afripop Magazine - one of our favorite sites on global African culture - reported, "Ethiopian-born American singer Kenna at the helm, a band of celebrities including Jessica Biel, Lupe Fiasco, Santigold, Isabel Lucas and Emile Hirsch, have recently completed a successful climb of Africa’s highest mountain, Tanzania’s Kilimanjaro." (Good catch Phiona!)Read more here.

Support the Children with a Song

admin — Sun, 06 Dec 2009 17:51:11 +0100

One of my favorite reggae singers – Luciano – has a song, “Save the World,” where he reminds us, “If you want to save the world, you gotta’ save the children.” This message is especially poignant today. With wars raging in Iraq and Afghanistan, world economies in a tailspin, and soaring food prices, we sometimes fail to remember the most vulnerable members of our society – the children. And nowhere are children more vulnerable to the ravages of sickness, depravation, and poverty than in Africa. We all know that Mama Africa is rich in natural and human resources. However, the distribution of resources is still not equitable. Meanwhile, food prices in Ethiopia have jumped 300% and most people are living on less than $1 per day. BUT WAIT…we don’t want to depress you with all the statistics highlighting poverty and human suffering. Instead, we have an EXCITING promotion!!! Rather than just talking, we are putting our feet in the dirt! For the month of December, AddisTunes.com will donate 100% of its profits to Hanna’s Orphanage in Addis Ababa – in anticipation of the Ethiopian Christmas in January. So if you’ve been thinking about downloading the Kafa Beanz, Mathias Makonnen, Elias Negash, the Teklemariams, Sheba Sahlemariam, Ethio Boy, classic indie drama Mogzitwa ("the Nanny"), or any of our other great artists – December is a great time to do it!! Not only will you help support some amazing artists who have poured their souls into work for your enjoyment, you will have the privilege of helping to support children in Ethiopia.This is a no-pressure promotion. Even if you don’t feel like downloading music, there are plenty of nonprofits that are dedicated to helping the kids where you can volunteer your time or resources. Some of our favorite charities include:Wide Horizons for ChildrenAn adoption agency that not only helps connect families with children in need of homes, but they also get involved in humanitarian aid.Worldwide Orphans FoundationA nonprofit that has its feet on the ground in Ethiopia and helps identify the unique needs of orphaned children and address those needs through medical, developmental, psychosocial and educational programs that are respectful of cultural norms.Artists for CharityAn organization made up of artists and individuals from all over the world who not only volunteer time, but also donate their precious artwork for the sake of change. They are having their 3rd Annual Holiday Benefit on Dec. 5, 2009.Speak AfricaSpeak Africa uses media, art, culture and other forms of dialogue to encourage African youth to exchange ideas as informed and active citizens.We realize that some of us are struggling to make ends meet. Family obligations sometimes make it difficult to do any more than we already are. If you have nothing more to offer the kids than your prayers, let’s all keep the kids in our prayers, hearts, and minds this Christmas season. Feel free to spread the word: SUPPORT THE CHILDREN WITH A SONG!!!Here's a clip of Badume's Band showing the kids some love!