ፍቅርን ጨርሼው...አስቴር አወቀ
 እንጀራ አልፈልግም
 ትዝታውን ይዤ
ልሂድ ይበቃኛል
የዚያ ማዶ ሰዎች
 ዘፈንም የላቸው
 አጅሬ ትዝታ
አልገባም ቤታቸው
… …..
ደግ ደጉን ሳጣ
 ሀዘኔም መረረ
ሞትን ሞት ቢወስደው
ይሻለኝ ነበረ


Inquest: Singer Amy Winehouse died of alcohol poisoning

London (CNN) -- Singer Amy Winehouse's death this summer was the result of alcohol poisoning, an inquest ruled Wednesday, as it reached a verdict of "death by misadventure."

A pathologist told a coroner's court in north London that alcohol toxicity was the cause of the 27-year-old's death, with her blood-alcohol levels measured at more than five times the legal limit for driving.

 The Grammy award-winning artist, who had battled with alcohol and drug abuse over several years, was found dead at her north London home July 23.

Testimony at her inquest showed no traces of illegal drugs in Winehouse's system -- but more details emerged about her losing battle with alcohol.

 Winehouse's physician, Dr. Christina Romete, said she saw Winehouse at 7 p.m. the day before she died, when the singer was tipsy but still able to hold a conversation.

Asked when she was going to stop drinking, Winehouse replied that she would call Romete over the weekend to discuss it, the physician said.

 Winehouse was determined to do things her own way, including therapy, Romete said, but was aware of the risks of alcohol abuse.

 The singer's personal security guard, Andrew Morris, said he last spoke to her at 2 a.m. on July 23. He said he looked in on her at 10 a.m. and saw her lying on her bed, but figured she was sleeping in, which wasn't unusual, the court heard.

 Morris said he realized something was wrong when he checked in again at 3 p.m. and saw Winehouse had not moved. She wasn't breathing and had no pulse, he said.

Morris said the singer didn't "drink to get drunk," but that he noticed she had started drinking alcohol again that week.

 Police who searched the flat after her death found three empty vodka bottles, the inquest heard.

 The pathologist's tests revealed that Winehouse's blood-alcohol level was 416 milligrams per 100 milliliters of blood. The level considered lethal is 350 milligrams per 100 milliliters of blood, and the legal limit to drive in Britain is 80 milligrams of alcohol.

The pathologist found no traces of tablets in Winehouse's stomach and said her organs appeared to be normal.

The verdict of misadventure means that it is judged to be an accidental death in which no law was broken or criminal negligence involved.

A family statement, given by spokesman Chris Goodman, said: "It is (with) some relief we finally found out what happened to Amy.

"We understand there was alcohol in her system when she passed away. It is likely a buildup of alcohol in her system over a number of days.

 "The court heard that Amy was battling hard to conquer her problems with alcohol and it is a source of great pain that she could not win in time. She had started drinking again that week after a period of abstinence," Goodman said.

Winehouse's father Mitch and mother Janet were among those who packed the small courtroom at St. Pancras Coroners Court to hear the evidence from key witnesses.

 Her family set up the Amy Winehouse Foundation last month to raise money to help young people in Britain and elsewhere, especially those suffering the effects of ill health, disability, poverty and addiction.

Goodman said the ruling "underlines how important our work with the Amy Winehouse Foundation is to us to help as many young people and children we can in her name.

" Winehouse's family said in August that toxicology tests had found that "no illegal substances" were in her system at the time of her death but alcohol was present.

The singer's soulful, throaty vocals brought her stardom in 2007, but her troubled off-stage life -- chronicled in her top 10 hit "Rehab" -- won her notoriety.

Her death came less than two months after her latest release from a rehabilitation program and weeks after she was booed offstage by disappointed fans in Serbia.
The tattooed London-born singer-songwriter's first album, "Frank," debuted in 2003, whe
n she was 19.

International success came with her 2007 album "Back to Black." She dominated the 2008 Grammys, winning five awards that night and delivering, via satellite from London, a strong performance of "Rehab."

Mitch Winehouse has said he plans to write a memoir, called "Amy: My Daughter," to be released next summer, which he said would tell the story of the Amy that the public never got to know.

የሞተው ሞቶ የተሰደደው ተሰዶ የተራበው ተርቦ የታሰረው ታስሮ የተፈታው ተፈቶ የጠገበው ጨፍሮ የተራበው አልቅሶ….ሰው ኑሮን ኖሮ…ኢትዮጵያዊ ከኑሮ ታግሎ አነሆ 2003 አለቀና 2004 ሊጀመር ዳርዳር ተባለ፡፡”እንቁ ለጣጣሽ” ሊባል በተስፋ እና በመኖር ግዴታ በአዲስ ዘመን ውስጥ ሰው ለመሆን …ለማንኛውም እኔ የቴውድሮስ ካሳሁንን እና የኩኩ ሰብስቤን የአዲስ አመት ዘፈን እነሆ ጋበዝኳችሁ….እንኳን አደረሳችሁ…ለእንደ እኔ አይነቶቹ ደግሞ ደረሰብን…

ፍፁም የለሽ አቻ ጥላሁን ገሰሰ

Satchita | Playing For Change

War/No More Trouble | Playing for Change | Song Around 

The World

Crowding Jazzamba Lounge

Donning a very short haircut and high heeled shoes, popular singer Zeritu opened Jazzamba Lounge at Taitu Hotel in Piazza on Wednesday, June 8, 2011.

(http://addisfortune.comAs it was the official grand opening of the lounge, 
her taking to the stage was 
preceded by much talking and she only started her performance at around 9:00pm, 
an hour later than expected.
First, she played with a jazz band for about 40 minutes, and after an interval she 
performed with her pop music band, including all her hit songs.
The show was enjoyed by the audience, which was really a crowd, given the 
large number of people who attended the launch of Addis Abeba’s newest jazz lounge.
The “amba” in Jazzamba means “fortress” in Amharic.
“This lounge was opened with the view to establish a sanctuary for jazz,” 
Nega Asfaha, managing partner of the lounge, told Fortune.
The idea to open the lounge originated around five months earlier among Nega,
 a self proclaimed jazz aficionado, and five likeminded individuals to establish 
Africa Jazz Music Band Plc, which is a subsidiary of African Jazz Band School.
“There is no place where young music students have the opportunity to
 perform for an audience,” said Nega, a businessman. “This is a place
 where they can come to jam.”
As part of the opening of Jazzamba, where one is advised to, “Let the 
good times roll,” a different live performance by high profile artists was
 planned for every night until Sunday, June 12. There are also live music
shows lined up every day for the remainder of the month.
Thursday, June 9, saw Munit & Jorg & Express Band perform. Jorg Pfeil, 
a guitarist from Germany, has lived in Ethiopia for five years.
He liked the idea of the lounge affording different musicians the 
opportunity to enter into collaborations with one another.
On Friday and Saturday, June 10 and 11, Addis Acoustic Project and
 Ethio-Color preformed, respectively.
The venue, which used to serve as a ballroom for the historic hotel, 
was restored with a view to keeping things as they were when the 
queen after which the hotel is named was alive.
“I daresay she may be smiling down on us, seeing all the people 
having fun,” Nega said.
He has reason to be happy with the result. It somehow contained 
the surging masses on Wednesday, and its furnishings are stylish 
without creating a stiff ambience; perfect for a lounge.
The only drawback is that there are no toilets in the venue; patrons 
must use the facilities located inside the main building of the hotel.
Inside, the smoking section has been separated from the stage area. 
The designated area for this is directly behind the stage. At first it 
seems as though the walls are decorated with thin green sticks of
 bamboo, but a minor incident with the light temporarily going out 
 revealed that the bamboo was in fact the walls of this room.
The evening seemed to be a trial by fire for the staff, and they seemed
 to fare swimmingly. The drama started outside, more than an hour 
before Zeritu started her performance, when many more people than
 expected showed up and tried to enter.
They were requested to wait for someone inside to leave, and it was
 only upon entering the crowded space. The bouncers outside warned 
of “no room to breathe.” They were right.
Moving around was difficult and the snail’s pace at which it was performed
 made the effort not seem worthwhile. Short people may also have struggled
 to see the musicians on stage through or over the human wall, but they 
could certainly be heard loud and clear.
Some people were forced to take up position at the bar, from where it was 
almost impossible to move.
The selection of white wine (35 Br for a glass) was limited and disappointing
 for consisting of only sweet wine. Jazzamba did better on the red wine, 
which was at least medium.
Nega explained that they were dependant on the stock of their suppliers,
 but made a note to add some dry white. Local beer sets one back 30 Br, 
now that the price cap has been lifted (all indicated prices are exclusive of VAT).
The management of Jazzamba plans for the lounge to evolve into more 
than a music scene.
“You have to spice it up,” Nega told Fortune. “You must feature the whole
 spectrum of the arts, not only music.”
He spoke of poetry readings, incorporating different styles of music, and 
more visual arts to help the good times to roll.
People had a good time on Wednesday. At the bar, one had to ask for the
 bill many times to no avail, until the place emptied out slightly, just enough
 to allow free movement, during the interval between the singer’s two sets, 
and one could move. However, at the end of the evening, the bill was correct.
Except that a Philly cheese steak sandwich (80 Br) was ordered and paid for,
 but the served dish was grilled steak (70 Br). The food was too good
 (tender meat with traces of garlic) and it was too late in the evening for
 the customer to create a scene.
The menu consists mainly of typical bar food ranging in price from between
 50 Br for a steak salad to 97 Br for grilled fish. Fish fingers cost 65 Br, crispy
 chicken cost 85 Br, and sandwiches range from 67 Br to 80 Br. The only 
traditional local dish, tibbs, would set one back 68 Br.
The lounge strives towards providing its patrons with good service, 
according to the managing partner.
“Well, maybe not tonight,” Nega joked over the din.
Jazzamba’s opening festival draws to an end on Sunday, with the 
performance of Kenny Allen & the 2-5-1 Band. Doors open at 6:00pm
 and the music starts at 8:00pm.

ኬቨን ሊትል በሪፖርተር

ከአሥር ዓመት በፊት ነበር በኬቨን ሊትል የተቀነቀነውና “ተርን ሚ ኦን” የተሰኘው ነጠላ ዜማ የወጣው፡፡
ዘፈኑ በወጣበት ሀገር ብቻ ሳይሆን በበርካታ ሀገሮችም ተደማጭነትና አድናቆትን ማትረፍ ችሎ ነበር፡፡ በመላው ካሪቢያን ሀገሮችና በሌሎች ሀገሮች የሚወጡ የሙዚቃ ሰንጠረዦችን ተቆናጥጦ የቆየባቸው አጋጣሚዎችም በርካታ ነበሩ፡፡ ዘፈኑ በወጣ በሳምንቱ የ2ኛነት ደረጃን በመያዝ በእንግሊዝ የሙዚቃ ሰንጠረዦች አናት ላይ ተንጠላጥሎ እንደነበር የቅርብ ጊዜ ትዝታ ነው፡፡ በዚህ ደረጃው ለሰባት ሳምንታት ያህል ቆይቷል፡፡ ከዚህም በተጨማሪ በአሜሪካ የወርቅ ደረጃ፣ ላይ ደርሷል፡፡

በአሜሪካው የሙዚቃ ሰንጠረዥ ‹‹በቢል ቦርድ ሆት 100›› ከሚባሉት በአራተኛ ደረጃ፣ በፊንላንድ የሙዚቃ ሠንጠረዥ በ11ኛ ደረጃ፣ በአውስትራሊያ ሶስተኛ ደረጃ እንዲሁም በሌሎች አሥራ ሁለት ሀገሮች የሙዚቃ ሰንጠረዠ ላይ ከፍተኛ ደረጃን ይዞ ነበር፡፡

ኢትዮጵያ ውስጥም ዝናው ከሌሎቹ ሀገሮች የተራራቀ አልነበረም፡፡ በተለያዩ ክለቦች እንዲሁም በሬዲዮ ጣቢያዎች ዘፈኑ ተደምጦለታል፡፡ በርካታ አድናቂዎችንም ለማግኘት ችሏል፡፡ ሁለት አልበሞችን ያበረከተው ኬቨን ሦስተኛውን በመሥራት ላይ ይገኛል፡፡ አዲሱ ነጠላ ዜማውን “ሉዚንግ ኮንትሮል” በማለት ላይም ለማስተዋወቅ በተለያዩ ሀገሮች እየተዟዘዋረ ሲሆን በቅርቡ አዲስ አበባ መጥቶ በሚሌኒየም አዳራሽ ሐምሌ 23 ቀን 2003 ዓ.ም ኮንሰርት አቅርቧል፡፡ ሶካ በሚባለው ስልት ዝና ካተረፈው ኬቨን ሊትል ጋር ስለሙዚቃ ሕይወቱ ከጥበበሥላሴ ጥጋቡ ጋር ቆይታ አድርጓል፡፡

ሪፖርተር፡- ወደ ሙዚቃ ሕይወት እንዴት ልትገባ ቻልህ?

ኬቨን ሊትል፡- ራሴን እስካወቅሁበት ጊዜ ጀምሮ በመዝፈን ላይ ነኝ፡፡ በሙያ ደረጃም መተዳደርያ ሆኖ ሀገሬ ውስጥ እዘፍን ነበር፡፡ የተወለድኩት ሴይንት ቪንሰንት ግሬንዳይንስ ነው፡፡ ይህች ሀገር ትንሽ ደሴት ብትሆንም መቶ አሥር ሺሕ ሰዎች የሚኖሩባት ናት፡፡ ይህም ማለት ሰው እርስ በርሱ ይተዋወቃል፡፡ ይሄንን አጋጣሚ ለራሴ ተጠቅሜበታለሁ፡፡ ለየት ያለ ድምጽ ይዤ ሀገሬ ውስጥ መታወቅ ቀላል ነበር፡፡ ከዚያም ከተለያዩ ባለሙያዎች ጋር መሥራት ጀመርኩ፡፡

እ.ኤ.አ በ2000 “ተርን ሚ ኦን” የሚለውን ዘፈን ሀገሬ ውስጥ አስቀረጽሁ፡፡ ይሄንን ሙዚቃ ስሠራው በሌላ አይነት የሙዚቃ ሥልት ነበር፡፡ የሙዚቃው ዓይነት “ፓወር ሶካ” ይባላል፤ ፈጠንም ያለ ነው፡፡ በሙዚቃው ኢንዱስትሪ በቀላሉ ተቀባይነት ለማግኘት ችሏል፡፡ አንዴ በትላልቆቹ ደሴቶች ማለትም በትሪንዳድና በጃማይካ በአጠቃላይ በካሪቢያን ታዋቂነትን ካገኘ ቀሪው ዓለም ይከተለዋል፡፡ ዘፈኑም የተለያየ የሙዚቃ ቃና በሚወዱ ሰዎች ዘንድ ተቀባይነትን አገኘ፡፡

ሪፖርተር፡- ሙዚቃ ላንተ ምንድነው?

ኬቨን ሊትል፡- ሙዚቃ ለኔ ሕይወቴና መሠረቴ ነው፡፡ ያለኝ ነገር ሁሉ እርሱ ነው፡፡

ሪፖርተር፡- ተጽዕኖ ያሳደሩብህ ሙዚቀኞች እነማን ናቸው?

ኬቨን ሊትል፡- ብዙ ሙዚቀኞችን እወዳለሁ፡፡ ሕጻን ሳለሁ ጀምሮ ማይክል ጃከሰንና ስቲቪ ወንደርን በጣም እወዳቸው ነበር፡፡ ቀጠን ብሎ ኃይል ያለው ድምፅ ያዳበርኩትም በእነሱ ምክንያት ነው፡፡ እንደእነዚህ ሙዚቀኞች ችሎታ እንዲኖረኝ እፈልግ ነበር፡፡ ስቱዲዮ ብቻ ሳይሆን በመድረክም ላይ ያላቸው ችሎታ የሚገርም ነው፡፡ ቦይዝ ቱሜን፣ ጆ፣ 112 የተባሉትን አቀንቃኞችም አደንቃቸዋለሁ፡፡ ወደ ካሪቢያኑ ሙዚቃ ስንመጣ ደግሞ ብዙ ትልልቅ አርቲስቶች አሉ፡፡ ከእነዚህም ውስጥ ስፓሮው ይጠቀሳል፡፡ ብዙ ሙዚቀኞች ተጽእኖ አድርገውብኛል፡፡

ሪፖርተር፡- ከ“ተርን ሚ ኦን” በፊት ምን ዓይነት ዘፋኝ ነበርክ?

ኬቨን ሊትል፡- ከመጀመርያው ጀምሮ ራሴን እንደ አዝናኝ አድርጌ ነው የምቆጥረው፡፡ ለመውጣት የሚታገል ሙዚቀኛ አድርጌ ራሴን ቆጥሬ አላውቅም፡፡ በትወናው፣ በዳንስና በዘፈኑ ከትምህርት ቤት ጀምሮ እሳተፍ ነበር፡፡ ትምህርት ቤት እያለሁም አጎቴ በመሠረተው ባንድ እጫወት ነበር፡፡ በሀገሬም ይኼ ልጅ ድምፅ አለው ይሉ ነበር፡፡ ምንም እንኳ እንደ አሁኑ መዝፈኔን ባያውቁም እኔ ግን ያኔም ጀምሮ መድረኩን እወደው ነበር፡፡ መድረክ ላይ ስወጣ የተለየ ስሜት ይሰማኛል፡፡ ከሌሎች ሰዎች በተለየ መልኩ ማድረግ የምችለው ነገር ቢኖር ሙዚቃ ነው፡፡

ሪፖርተር፡- በእስካሁኑ የሙዚቃ ሕይወት ምን ዓይነት ችግሮችን አልፈሀል?

ኬቨን ሊትል፡- ብዙ ሰዎች የሚያስቡት ዘፋኝ መሆን ወይም በመዝናኛ ዘርፍ ውስጥ መግባት ቀላል ሕይወት ይመስላቸዋል፡፡ በሙዚቃው ውስጥ ያለ ሰው ገቢዎቹ ሲያድግ ወጪውም የዚያኑ ያህል ይጨምራል፡፡ ለምሳሌ አንድ ሰው በሳምንት 100 ዶላር ያገኛል እንበል፡፡ እኔ ደግሞ 10,000 ዶላር በሳምንት አገኛለሁ ልበል፡፡ ያሰው አምሳ ዶላር ቢያወጣ እኔ ደግሞ 5,000 ዶላር አወጣለሁ፡፡ ይሄ ማለት ሰው እንደ ኑሮው ዘዬ ያወጣል፡፡ ሙዚቀኛ ስትሆን በሰው የጊዜ አካሔድ አትኖርም፤ ብዙ እንቅልፍ የለም፡፡ በጣም ትጨናነቃለህ፤ እኔ ግን የሙዚቀኝነት ሕይወቴ ያስደስተኛል፡፡ ምክንያቱም ያንን ማድረግ በውስጤ ስለምፈልግ ነው፡፡

ሪፖርተር፡- “ተርን ሚ ኦን›” የሚለው ዘፈን በዓለም ታዋቂነት ከፍተኛ ሲሆንና ካሰብኸው በላይ ሲሆንብህ አላደናገረህም? ይሄንን እውቅናስ ጠብቀኸው ነበር?

ኬቨን ሊትል፡- እውነቱን ለመናገር እንዲህ ይሆናል ብዬ አልጠበቅኩም፡፡ ዘፈኑ አንድ ጊዜ መግነን ሲጀምር ግን በዘፈኑ ታዋቂነት ሳቢያ ምን ማድረግ እንዳለብኝ ማሰብ ጀመርኩ፡፡ ወደተለያዩ ሀገሮች በመሔድ መዝፈን ጀመርኩ፡፡ መጀመርያ ማድረግ የነበረብኝ ነገር ቢኖር ራሴን ማሳወቅ ነበር፡፡ ምክንያቱም ምንም እንኳ ዘፈኑ በጣም ታዋቂ ቢሆንም ኬቨን ሊትል ግን ማንም አያውቅም ነበር፡፡ ብዙዎች አሜሪካዊ፣ ጃማይካዊ ወይም ከትሪንዳድ የወጣሁ እመስላቸው ነበር፡፡ ከትንሿ ደሴት ከሴይንት ቪንሰንት አልመሰልኳቸውም፡፡ የሴይንት ቪንሰንት ሰዎች እኔ መሆኔን መድረክ ላይ እስከሚያዩ ድረስ አላመኑም ነበር፡፡

ብዙ ሰው ቤሬስ ሀሞንድ ከሚባለው ጃማይካዊ ድምፃዊ ጋር ስላመሳሰሉኝ የዚህ ዘፈንም ባለቤት እኔ አልመሰልኳቸውም፡፡ ይሄ ግን ከአሥር ዓመት በፊት ነው፡፡ ይሄንንም ዕድል በማግኘቴ በጣም ነው የተደሰትኩት፡፡ ተውጨ ግን አልቀረሁም፡፡ ማንኛውም ወጣት አርቲስት እኔ ባለፍኩበት መስመር ማለፉ አይቀርም፡፡ የሙዚቃውን ቢዝነስ ባለማወቄ የተወሰኑ ችግሮች አጋጥመውኛል፡፡ መጀመርያ ሁሉንም ነገር እንደማውቅና እንደገባኝ ነበር የተረዳሁት፡፡ በኋላ ግን ቁጭ ብዬ በአካባቢዬ የሚካሔደውን ሳይ እንዳልገባኝ ያየሁት ያኔ ነው፡፡ ከዚያ በኋላ ብዙ ለውጦችን አድርጌያለሁ፡፡ ለማንኛውም ይሄ የዕድገት ሒደት ነው፡፡ ከመዋጥ ይልቅ ብዙ አስተምሮኛል፡፡

ሪፖርተር፡- ይሄ ነጠላ ዜማስ ምን ያህል በሮችን ከፍቶልሀል?

ኬቨን ሊትል፡- ዓለምን ነው የከፈተልኝ፡፡ የሙዚቃው ወይም የመዝናኛ ኢንዱስትሪው ከሌላው የተለየ ነው፡፡ ሰዎችንም ማዝናናት ይቻላል፡፡ መድረክ ላይ ስትወጣ ተመልካቹ አብሮ ያብዳል፡፡ ለየት ያለ ዓለም ነው፡፡ ምን መሥራት እንዳለብኝ ያስተማረኝ ጊዜ ነው፡፡ ምክንያቱም ሙዚቀኛ ስትሆን የሰዎችን ሕይወት በተለያየ መልኩ ትነካለህ፡፡ እንደ ሙዚቀኛም ያንን ማድረግ ትፈልጋለህ፡፡ እውቅናውም ያንን እንዳደርግ ረድቶኛል፡፡ ለእኔ በጣም ከፍተኛ መነሣሣትን የፈጠረልኝ ነው፡፡ መድረክ ላይ ስወጣ ሰዎች በላብ ተዘፍቀው እንዲጮሁ አድርጌያለሁ፡፡ በእኔ ዘፈን የተጋቡ ሰዎች አሉ፡፡ አንዳንዶቹም በኔ ዘፈን ለመጀመርያ ጊዜ ወደ ጭፈራ ቤት ያመሩበት ዘፈን ነው፡፡ ይሄን ለማድረግ መቻሌም ከፍተኛ ደስታ ይሰጠኛል፡፡ በዚህ ዓለም የራሴን አሻራ እንደተውኩ ይሰማኛል፡፡

ሪፖርተር፡- ሁለተኛው የሆነው አልበምህ “ፋያህ”፣ ከሁለት ዓመት በፊት የወጣው ጃፓን ውስጥ ነበር ምክንያቱ ምንድን ነበር?

ኬቨን ሊትል፡- ጃፓን የእኔ ሙዚቃን በተመለከተ ጠንካራው ገበያ ያለበት ነው፡፡ በጣም ይወዱኛል፡፡ ስለዚህ ጃፓን ውስጥ ያለው የዩኒቨርሳል ኩባንያ ሙዚቃው እዚያው መውጣቱ ተገቢ ነው ብሎ ሳላመነ ነው፡፡

ሪፖርተር፡- ከሙዚቃው ዓለም ትንሽ ራቅ ብለህ ነበር ምክንያቱ ምንድነው?

ኬቨን ሊትል፡- ሁለተኛ አልበሜን ከሦስት ዓመት በፊት ጃፓን ውስጥ ለቅቄያለሁ፡፡ የሙዚቃው ኢንዱስትሪ ቀላል አይደለም፡፡ ይሄም የመማር ልምድን ፈጥሮልኛል፡፡ መታገል አለብህ፤ ሁለተኛው አልበሜ ጃፓን ውስጥ በድረ ገጾች፣ በሲዲ፣ በዲቪዲ 60,000 ኮፒ ብሸጥም በደንብ ባይታወቅም፡፡ ጥሩ ነበር፡፡ ከዚህም በተጨማሪ ለካሪቢያኑ ማኅበረሰብ አዲስ ያልሆነ “ሉዚንግ ኮንትሮል” የሚል ዘፈን አለኝ፡፡ ውጤቱን የምናየው ይሆናል፡፡

ሪፖርተር፡- ቀጣዩ አልበምህ ምን ዓይነት ነው? ምንስ እንጠብቅ?

ኬቨን ሊትል፡- ቀጣዩ አልበሜ እንደዘፋኝ ምን ልሠራ እንደምችል የሚያሳይ ነው ብዬ አስባለሁ፡፡ የመጀመርያው አልበሜ በታዋቂ ሰዎችና በዋና አሳታሚ ኩባንያዎች ተጽዕኖ ሥር ነበር፡፡ የራሳቸውንም ፕሮጀክት በኔ አልበም ውስጥ ለማሳየት ሞክረዋል፡፡ ነገር ግን በሰው ዘንድ ታዋቂ የሆኑት በኔ የተጻፉትና ሬከርድ የተደረጉት “ተርን ሚ ኦን”፣ “ላስት ድሮፕ”፣ “ኮል ሚ” የመሳሰሉት ናቸው፡፡ በዚህም ትምህርት ተምሬበታለሁ፡፡

ሪፖርተር፡- ከሁለት ዓመት በፊት ”ኤኒ ዌር” የሚል ነጠላ ዜማ ከታዋቂው ዘፋኝ ፍሎሪዳ ጋር አብረህ ሠርተሀል ምን ያህል የተሳካ ነበር?

ኬቨን ሊትል፡- የምፈልገውን ያህል የተሳካ አልነበረም፡፡ እንደሙዚቀኛ የሠራሁት ችሎታዬን ለማሳየትም እናም ለየት ያለ ዘፈንም ለመሞከር ነበር፡፡ ሙዚቃውን የማስተዋወቅ ስራ ላይ ትንሽ ችግር ነበር፡፡ ስሜን ከታዋቂ ዘፋኝ ጋር ማያያዜ ጥሩ ነበር፡፡ ነገር ግን በሌላ በኩል የጠበኩትን ያህል ስላልነበር ጥሩ አልነበረም፡፡

ሪፖርተር፡- እንደ “ተርን ሚ ኦን” ታዋቂ የሆነ ነጠላ ዜማ መሥራት ችለሀል?

ኬቨን ሊትል፡- በካሪቢያን አካባቢ ተደማጭነትን ማግኘት የቻሉ አንዳንድ ዘፈኖች አሉኝ፡፡ ለምሳሌ “ኮል ሚ” እንደሚለው ዘፈኔ፣ እናም “ድራይቭ ሚ ክሬዚ” የሚለው ዘፈኔ በዓለም አቀፍ ደረጃ ተሰሚነትን አትርፏል፡፡ ታዋቂነትን ያገኙ እዚህም እዚያም የወጡ ዘፈኖች አሉኝ፡፡

ሪፖርተር፡- እንደ “ተርን ሚ ኦን” ዓይነት ዘፈን መሥራት ከባድ ነው?

ኬቪን ሊትል፡- ትንሽ የሚያስቸግር ሒደት አለው፡፡ ስሜ በዓለም ታዋቂ ከሆነው ዘፈን “ተርን ሚ ኦን” ጋር የተያያዘ ነው፡፡ ስለዚህ ዝም ብዬ ተነሥቼ ነጠላ ዜማ መልቀቅ አልችልም፡፡ “ተርን ሚ ኦን” እግዚአብሔር የሰጠኝ ስጦታ ነው፡፡ እንደዚህ ዓይነት ዘፈን በየቀኑ መሥራት አይቻልም፡፡ ዘፈኑ አሁንም ድረስ ይሰማል፡፡ አሁን የወጣ ዘፈንም ይመስላል፡፡ በአሁን ጊዜ የተለየ ዓይነት ሙዚቃ ለመሥራት እየሞከርኩ ነው፡፡ አዳዲስ ዘፈኖችም ከሻጊና ከቡስታ ራይምስ ጋር ይኖረኛል፡፡

ሪፖርተር፡-ሙዚቀኞች ብዙ ጊዜ ራሳቸውን እንደዚህ ዓይነት ሙዚቀኛ ነኝ ብለው ይሰይማሉ፤ አንተስ?

ኬቨን ሊትል፡- እኔ የዓለም ሙዚቀኛ ነኝ ተብያለሁ፤ ብዙ ሰዎችም የሶካ ንጉሥ ብለውኛል፤ በሚያስደስታቸው መልኩ ሊጠሩኝ /ሊሰይሙኝ/ ይችላሉ፡፡ በመጥፎ መልኩ እስካልሆነ ድረስ፡፡

ሪፖርተር፡- እስካሁን ከነበሩህ ኮንሰርቶችና ዝግጅቶች የትኛው የማይረሳ ትዝታ ጥሎ አልፏል፤ እናም ለምን?

ኬቨን ሊትል፡- ለኔ እያዳንዱ ኮንሰርቶቼ ልዩ ናቸው፡፡ እያንዳንዱ ኮንሰርት የራሱ የሆነ ትዝታና ልምድ ጥሎ ያልፋል፡፡ እዚህ ከመምጣቴ በፊት ከሴንትና ከቡስታ ራይምስ ጋር አርባ ሺ ያህል ሰዎች በተገኘበት ዘፍኜያለሁ፤ በጣም አስደናቂ ነበር፡፡

ሪፖርተር፡- ከዚህ በፊት የኢትዮጵያ ሙዚቃ ሰምተህ ታውቃለህ፤ ከሰማህ እንዴት አገኘኸው?

ኬቨን ሊትል፡- የኢትዮጵያ ሙዚቃ ምን እንደሆነ አላውቅም ነበር፡፡ እዚህ ከመጣሁ በኋላ አንዳንድ ዘፈኖችን ስሰማ የተረዳሁት ከሌሎቹ የአፍሪካ ሀገሮች ሙዚቃ እንደሚለይ ነው፡፡ ወድጄዋለሁ፡፡

ሪፖርተር፡- አፍሪካ ወይም ኢትዮጵያ ስትመጣ የመጀመርያህ ነው?

ኬቨን ሊትል፡- ኢትዮጵያ ስመጣ የመጀመርያዬ ነው፡፡ በአንዳንድ የአፍሪካ ሀገሮች ናይጄርያ ጋናና ታንዛኒያ መጥቻለሁ፡፡

ሪፖርተር፡- ስለ ኢትዮጵያ ምን ታውቃለህ? እዚህ ከመምጣትህ በፊትስ ምን ጠብቀህ ነበር?

ኬቨን ሊትል፡- ሴቶቹ ቆንጆ እንደሆኑ አውቃለሁ፡፡ ለመጀመርያ ጊዜ ያየኋቸውም ብሎ ኖት ጃዝ ክለብ ለመዝፈን ጃፓን በነበርኩበት ጊዜ ነው፡፡ በጣም ያስደንቃሉ፡፡ እናም ኢትዮጵያ መሔድ አለብኝ አልኩኝ፡፡ ከሌሎች ሀገሮች በተለየ ምንም አልጠበኩም ነበር፡፡ እዚህ መጥቼ ከሕዝቡ ጋር መሆንና መተዋወቅ ፈልጌ ነበር፡፡ ምክንያቱም ከካሪቢያን እንደመምጣቴ ኢትዮጵያ የምትታወቀው ወይም የምትነሣው በሥልጣኔ መነሻነትና ከአፄ ኃይለ ሥላሴ ጋር ነው፡፡ እዚህ በመምጣቴ ተደስቻለሁ፡፡ ምክንያቱም ከሕጻንነቴ ጀምሮ እነዚህ ታሪካዊ ግንኙነቶች ከኢትዮጵያ ጋር ግንኙነት እንዲኖረኝ አድርገዋልና፡፡

Emperor Haile Selassie I & Bob Marley - War

"That until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned; That until there are no longer first-class and second-class citizens of any nation; That until the color of a man’s skin is of no more significance than the color of his eyes; That until the basic human rights are equally guaranteed to all without regard to race; That until that day, the dream of lasting peace and world citizenship and the rule of international morality will remain but a fleeting illusion, to be pursued but never attained; And until the ignoble and unhappy regimes that hold our brothers in Angola, in Mozambique and in South Africa in subhuman bondage have been toppled and destroyed; Until bigotry and prejudice and malicious and inhuman self-interest have been replaced by understanding and tolerance and good-will; Until all Africans stand and speak as free beings, equal in the eyes of all men, as they are in the eyes of Heaven; Until that day, the African continent will not know peace. We Africans will fight, if necessary, and we know that we shall win, as we are confident in the victory of good over evil. – "
Emperor Haile Selassie United Nation Speech, 1963

Maga Bo is a producer/DJ based in Rio de Janeiro, Brazil. His work spans the breadth of international urban bass music from hip hop and kwaito to baile funk and jungle ragga to dub, grime and dubstep with flares of samba, rai, bhangra, cumbia, skewed electronic beats and loudspeaker jitter. He had been in Addis Ababa to produce with the Ethiopian Etenesh Wassie. Most of us know Etenesh working with the French Tigre des Platanes band and later with Mathieu Sourisseau. On this music Maga Bo and Etenesh Wassie collaborates with Eritibu ’Solomon’ Agegnehu.

Girma Yfrashewa
Born in Addis Ababa on 15 October 1967, Girma learnt to play the Kirar, a harp-like traditional Ethiopian string instrument, at a tender age. He was introduced to piano at the age of 16 when he joined the Yared School of Music in Addis Ababa , where he studied for four years and graduated with a diploma in piano under Valentina Semenova. He then received a five-year bursary from the Ethiopian government to study at the Sofia State Conservatory of Music, in Bulgaria and graduated with a Masters in Piano under Professor Atanas Kurtev.

Mary Armde(ሜሪ አርምዴ)

Mary Armde(ሜሪ አርምዴ) was one of ethiopian folk musician back in 60s.

Mary Also well known by her Kirar(a six-string lyre) talent,vocal and her strange music style. Mary music have very strong messages and sexual contents which was nearly impossible for the woman to take it out in public.