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		<title>How to Spend It</title>
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		<pubDate>Thu, 26 Apr 2012 13:03:48 +0000</pubDate>
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		<description><![CDATA[Being a mother of two I don’t really get the time to sit and read a magazine every evening, so I try to read something relaxing on the weekend – Saturday morning- when my husband takes out the kids to the playground the Magazine I love to read , drinking a good cup of tea is “how to spend it”. How to Spend It is a monthly magazine published with Financial Times Weekend. Its articles concern luxury goods such as yachts, mansions, apartments, haute couture and automobiles, as well as fashion and columns by individuals in the arts, gardening, food, and hotel and travel industries. And I sometimes find articles that might be interesting for people traveling to different part of the world. In June 2010 edition there was an interview with Gordon Campbell Grey, one of the hotel world’s most original tastemakers and vice-president of save the children with interesting links from where to travel, what to eat and good books to read that I would love to share. For more information please go to: http://www.howtospendit.com/#!/articles/2012-the-aesthete-gordon-campbell-gray-part-one]]></description>
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		<title>Ethiopian Music an Interview with Francis Falceto by Matthew Newsome on &#8220;What&#8217;s out Addis&#8221; April Edition</title>
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		<pubDate>Mon, 16 Apr 2012 10:47:12 +0000</pubDate>
		<dc:creator>Admin</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Ethiopian Jazz]]></category>
		<category><![CDATA[Ethiopian Music]]></category>

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		<description><![CDATA[INTERVIEW WITH FRANCIS by Matthew Newsome Francis Falceto is the creator of the Ethiopiques CD series on Buda Music. This hugely popular and well-acclaimed collection in its twenty-seventh volume has introduced modern Ethiopian music, specializing in the highly productive era of the late 60s and early 70s to people all over the world from Japan to New Zealand. Ethiopiques includes some traditional music, and some music created since the end of the Dergue in 1991, but it’s great strength is its careful documentation of the extraordinarily creative years leading up to the revolution in 1974. Francis Falceto is also the author of a beautiful book, Abyssinie Swing: A Pictorial History of Modern Ethiopian Music (Shama Books). The Ethiopiques series is a time capsule, an incalculable contribution to Ethiopia’s cultural heritage. Frances’s untiring dedication and passion has helped to restore the memory for many of Ethiopia’s golden era of music. The Ethiopiques collection is now praised worldwide and is one of the longest running series of world music today. What’s Out met with Francis last month while he was visiting Ethiopia to discuss the history and the future of the Ethiopiques series. Please can you briefly outline the origins of Ethiopian modern music? After hearing an Armenian brass orchestra in Jerusalem in 1924, Haile Selassie invited a number of young Armenian musicians to move to Ethiopia to set up his court band. This was a turning point in the development of Ethiopian modern music. After the war with Italy many Institutional big brass bands were then formed: the Imperial bodyguard band, the Police orchestra, the Army band, the Municipality band. The Institutional band became part of rebuilding the country. Only in the last years of Haile Selassie’s reign did private bands start to form, up until then institutional bands had the monopoly. Add to this the western influences from the big band music scene in America like Glenn Miller. Rock and roll was also being heard through the radio while Peace Corps volunteers from America were coming to Ethiopia with rock and roll vinyl’s and guitars. What was happening musically in Ethiopia in the 1960’s? There was a generational music revolution led by the youth in Ethiopia similar to what was happening in the west in the sixties- Ethiopia was having its own swinging era. The music was very controversial to the older generation and to many who were used to Azmari music: a masinko (a one stringed viol) accompanied by double entendre lyrics. Suddenly we have blaring saxophones, frenetic horns and rock and roll. How did you discover Ethiopia’s music? I was part of a non-profit group that put music concerts on in Europe showcasing non-commercial music such as free jazz, noise, rock and world music. A friend played me a record by Mahmoud Ahmed in 1984 and I fell off my chair. It was like a UFO had landed. I had never heard anything like this and I wanted to hear more. Later that year I traveled to Ethiopia to find him. So you discovered Ethiopian music in 1984 but released the first Ethiopiques volume in 1997. Why did it take so long? It took a lot of time and detective work. Ethiopians are extremely byzantine, trying to disentangle truth from legend when I first came to Ethiopia was a very difficult task. Who had the master copies? Who owns what? Who is the producer? Who has the rights to these albums? It was a marathon; I had to wait eleven years before I had achieved all the necessary permission. It was like unwinding a giant ball of wool. I entered the labyrinth and I came out and am very happy as the work has been done. What was the outcome of your first visit to Ethiopia? I came to invite Mahmoud Ahmed and Mulatu Astatke to perform in Europe. I wanted to invite so many more musicians but under the Dergue regime it was very difficult to do this. Ethiopians needed an exit visa to leave the country, which was tragic for these musicians who deserved international exposure. When I reached Ethiopia I was shocked to discover that all of this exquisite music was only available on pirated cassettes, the quality was abysmal. How could this magnificent music be only available in such low quality pirated condition? This I thought was a terrible injustice to the Ethiopian musicians and my passion to present this music in a much more representative and dignified fashion was reinforced. Do you think Ethiopians today find the Ethiopiques series as compelling as people in the west? Sure. Interestingly, what makes it so enjoyable for many under 55 in Ethiopia is the fact that during the Dergue, the curfew and the crackdown on musical entertainment prevented many Ethiopian teenagers from hearing popular music. The revival of interest in this period of Ethiopian music since 1994 has been enormous for many Ethiopians who are rediscovering their missed youth through the Ethiopiques series. The series helps restore many gaps in the cultural memory. It has been said that the music of the Ethiopiques collection has helped overturn the outdated clichés and miserable stereotypes that stem from the TV imagery of the ’84 famine. Do you think this is true? Yes undoubtedly. The glamorous photographs I have collected of the Ethiopian big bands attired in white tuxedos evoke such vivacity, class and elegance; Ethiopians possess an intrinsic stylishness. For many, the music and imagery collected within the Ethiopiques collection proves to be an educational experience. What is so unique about Ethiopian music? What makes it so popular? It is unlike any world music I have ever heard. It has a very specific groove. It is groovy and bewitching in a way in which no other African music can compare. Why do you think Ethiopian jazz music continues to be perceived as modern and innovative by contemporary western musicians today? This is because Ethiopian jazz music does still sound so modern and unique to many outside Ethiopia. Vintage Ethiopian jazz music will continue to endure and fascinate. In 2006 I started curating a new series called Ethiosonic, which focuses on contemporary Ethiopian music and collaborations with cutting edge acts outside Ethiopia such as the Kronos Quartet and Dub Collossus.]]></description>
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		<title>Easter In Ethiopia</title>
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		<pubDate>Mon, 16 Apr 2012 10:02:31 +0000</pubDate>
		<dc:creator>Admin</dc:creator>
				<category><![CDATA[Promo]]></category>
		<category><![CDATA[Ethiopia]]></category>
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		<title>Addis Ababa launches flights to Seychelles</title>
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		<pubDate>Tue, 27 Mar 2012 14:12:09 +0000</pubDate>
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				<category><![CDATA[News]]></category>

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		<description><![CDATA[Ethiopian Airlines is launching direct flights from Addis Ababa to Mahé in the Republic of Seychelles on 1 April. The service will operate four times a week between Addis Ababa and Seychelles International Airport on Mahé, the largest Seychelles island and home to capital Victoria. The flight departs Addis Ababa on Tuesdays, Thursdays, Fridays and Sundays at 10.10, landing in Mahé at 15.25. The return flight leaves the Seychelles the same day, at 16.25, and lands in Addis Ababa at 19.40. The Republic of Seychelles comprises 115 islands in the Western Indian Ocean, and is noted for its coral reefs and ecotourism. Ethiopian Airlines was founded in 1946 and Mahé will become the carrier&#8217;s 65th destination.]]></description>
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		<title>Welcome to Lion of Judah Travel!</title>
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		<comments>http://lionofjudahtravel.com/welcome-to-lion-of-judah-travel/#comments</comments>
		<pubDate>Sun, 29 Aug 2010 23:28:59 +0000</pubDate>
		<dc:creator>Admin</dc:creator>
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		<category><![CDATA[Action Againts Hunger]]></category>
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		<description><![CDATA[Selam! Welcome! All of us at Lion of Judah Travel are very excited to be launching our brand new website and blog! We look forward to sharing with you the best of Ethiopia, Africa and the world.

To start I want to reference a recent article “mamma mia, Ethiopia” published in How to Spend It, an award-winning magazine. Bill Knott writes about the culinary richness of Addis Ababa, capital city of Ethiopia, and notes the historical influences and authenticity of getting a true Ethiopian experience. First mentioned is Ristorante Castelli, opened in 1948 by Francesco Castelli an Italian soldier that stayed behind after the Italian Fascist invasion was over in 1941. Though the restaurant is described as rather formal Knott writes that the “prices are remarkably low for top-notch, slightly old-fashioned Italian cuisine” which is served by unhurried waiters and he then invites you to “prepare for a culture shock.”]]></description>
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