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  • London naked restaurant: 32,000 sign up for nude dinners at Bunyadi

     

    Want to get naked while getting dinner in London?

    Keep your clothes on for now and join the back of a very, very long line.
    More than 32,000 people have signed up for a chance to dine at Bunyadi, a pop-up restaurant billed as the UK capital's first "naked food experience."
    Opening in June, the central London venue will offer gowns, changing rooms and lockers to guests wanting to digest the sight of their own exposed skin while getting their chow on.
    Only 42 diners a time will fit in the restaurant -- at an as-yet-undisclosed location -- meaning that many of those hoping for a naked lunch, or dinner, will be disappointed.
     
    "I'm both surprised and excited by the response," Seb Lyall, whose company Lollipop is behind the venture, tells CNN.
     
    "People want to be naked. Whether it's on a beach or in a sauna, if the opportunity is there to be in a natural state, they will take it."

     source :CNN

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  • የፋሲካ እንግዳ - ድምፃዊ አብዱ ኪያር “ነፍሴ ሁሌም ኢትዮጵያ ናት

     “መርካቶ ሰፈሬ”፣ “ፍቅር በአማርኛ” እና “ምነው ሸዋ” በተሰኙት ቀደምት ሦስት አልበሞቹ ከፍተኛ አድናቆትን አትርፏል፡፡ በቅርቡ ያወጣው
    “ጥቁር አንበሳ” የተሰኘ አልበምም በአድማጭ ዘንድ ተወዳጅነትን አግኝቶለታል፡፡ ላለፉት 8 ዓመታት ኑሮውን በአሜሪካ ያደረገው ድምጻዊ አብዱ
    ኪያር፤ባለፈው ቅዳሜ አዲስ አበባ ሲገባ ያልጠበቀው ደማቅ አቀባበል እንደተደረገለት ተናግሯል፡፡ ድምጻዊው የፊታችን ሐሙስ ሚያዚያ 27
    በአርበኞች ቀን በዓል፣“ጥቁር አንበሳ” በተሰኘ አልበሙ የተሰየመ የሙዚቃ ኮንሰርት በላፍቶ ሞል እንደሚያቀርብ ታውቋል፡፡ አብዱ ኪያር አቀንቃኝ
    ብቻ አይደለም፡፡ የግጥምና ዜማ ደራሲ ነው፡፡ ጨዋታ አዋቂ ነው፡፡ ኮሜዲያን ነው፡፡ አዝናኝ ነው፡፡ የአገራችን ዝነኛ ድምጻውያንን እያስመሰለ ሲዘፍን
    አጃኢብ ያሰኛል፡፡ ቁምነገረኛም ነው - ድምጻዊው፡፡ ከአዲስ አድማስ ጋዜጠኛ ናፍቆት ዮሴፍ ጋር ባለፈው ረቡዕ ተገናኝተው በስፋት አውግተዋል፡፡
    ስለ ልጅነቱ---ስለ መርካቶ---ስለ አራድነት---ስለ አይቲ ባለሙያነቱ----ስለሚወዳት ባለቤቱ (የልጅነት ፍቅረኛው) ---- ያልተጫወቱት የለም፡፡
    የዓውዳመት ጣፋጭ ወግ እነሆ፡-

        በዘፈኖችህ የምታነሳቸው ሀሳቦችና የምትዳስሳቸው ማህበራዊ ጉዳዮች ሲታዩ እዚሁ አገርህ ውስጥ የምትኖር እንጂ ውጭ እየኖርክ የምትዘፍናቸው አይመስሉም -----
    ወይ ጉድ! እኔ እኮ ከልጅነቴ ጀምሮ በስደት ነው ያሳለፍኩት፡፡ ሳዑዲ አረቢያ የሄድኩት በ1990 ዓ.ም ነው፡፡ ሆኖም አካሌ ውጭ ቢሆንም መንፈሴ አገሬ ውስጥ ነው ያለው፡፡ በየጊዜው ከጓደኞቼ ጋር እየተደዋወልኩ፣ “እስኪ ፉገራ ጣል አድርጉ----ምን አዲስ ነገር አለ?” እያልኩ እያንዳንዱን ነገር የሚሆነውን የሚደረገውን ኢትዮጵያ ከሚኖሩት በላይ አውቃለሁ፡፡ በሌላ በኩል አገር ቤት ስትኖሪ አጠገብሽ ለሚከሰቱት፣ አይንሽ ስር ለሚደረጉት ነገሮች ትኩረት ሳትሰጪ ያልፍሻል፤ውጪ ስትሆኚ አገርሽ ስለሚናፍቅሽ እያንዳንዷን ነገር በትኩረት ትከታተያለሽ፤ስለዚህ እኔ ሁሌም ነፍሴ አዲስ አበባ ናት፡፡
    እኔ ጥያቄውን ያነሳሁት አንዳንድ የኪነ - ጥበብ ሰዎች፣ የወግ ፀሐፊዎችና መሰል የኪነ - ጥበብ ሰዎች ከአገር ሲርቁ ያ ተወዳጅነታቸውና ተቀባይነታቸው ቀንሶ ስለማየው ነው …
    እንግዲህ እኔ እንደዚያ ያልሆንኩበትን ምክንያት ተናግሬያለሁ፤እየበሰልኩና እድሜዬ እየጨመረ ሲመጣ በይበልጥ እየተሳብኩ የመጣሁት ወደ መሰረቴ ነው፡፡ በነገራችን ላይ ሁሉም ሰው አገሩ ውስጥ ቢኖር ደስ ይለዋል፤የተለያዩ ምክንያቶች ግን በዚያው ያስቀሩታል፡፡ አልያም በጣም እንዲዘገይ ያደርጉታል፡፡ ነገሮች በምንፈልገው አቅጣጫ ሳይሄዱ ሲቀሩ እዚያው እንቀራለን እንጂ ሁሉም አገሩ መኖር ጠልቶ አይደለም፡፡ “በወረቀት የሰው በደም ያንቺ ናቸው” ማለት ይሄው ነው፡፡
    መርካቶ ሰባተኛ ተወልደህ እንደማደግህ የመርካቶን ጉራንጉር ሁሉ ታውቀዋለህ ብዬ እገምታለሁ፡፡ እስኪ ስለዚያ ሰፈር አስተዳደግህ አውጋኝ…
    የቤታችን የመጨረሻ ልጅ እንደመሆኔ ምንም ነገር ሲፈለግ እኔ ነኝ የምጠራው፡፡ አብዱ ይላሉ፤ ሮጬ ሄጄ እገዛለሁ፤ቤት ውስጥ ምንም ሲያስፈልግ ማለት ነው፡፡ በዚህ ምክንያት መርካቶን ከጥግ እስከ ጥግ አውቃታለሁ፡፡
    ታስታውሳለህ --- ምን ምን እንድትገዛ ነበር የምትላከው?
    ምን የማልገዛው ነገር አለ! እኔ ተልኬ የምገዛቸውን ነገሮች አንዳንዶቹን አንቺ ራስሽ አታውቂያቸውም፡፡ ሰባራ እንቁላል፣ ዶሮ፣ ለእማዬ እንሾሽላ፣ ለእኛ ስኳር ድንች፣ ከበቆሎ በረንዳ በቆሎ እገዛለሁ፡፡ እነዚህን ሁሉ ገዝቼ ሽርፍራፊ ሳንቲም ከተረፈ ለራሴ ሸንኮራ አስቆርጬ ወደ ቤቴ እሄዳለሁ፡፡ ብቻ ምንም ያልገዛሁት ነገር የለም፡፡ ያልተላኩት ነገር የለም፡፡
    ሌሎቹስ እሺ----ሰባራ እንቁላሉ ምንድን ነው?
    ሰፈር ኳስ እንጫወታለን፡፡ ስንጫወት ከጤነኛ እንቁላሎች መሀል ሰባራ እንቁላል ይገኛል፡፡ ይህ እንግዲህ እንቁላሉ እርስ በእርስ ሲጋጭ የሚሰበር ነው፡፡ እነዚህ እንቁላሎች አይሸጡም አይደለ፡፡ ታዲያ እኛ እነሱን በርካሽ እንገዛና ከኳስ ጨዋታ በኋላ ሰብሰብ ብለን መብላት ያስደስተን ነበር፡፡ እናንተ ይቺን ይቺን አታውቋትም አይደል?
    ብዙ ጊዜ አብዱ ኪያር “የአራዳ ልጅ ነው” ሲባል እሰማለሁ፡፡ ለአራድነትህ የሚጠቀሰው ደግሞ የመርካቶ ልጅነትህን ነው፡፡ መርካቶና የአራዳ ልጅነት ምንና ምን ናቸው?
    እንዳልሺው ይሄ ነገር እንደ ታይትል ነው የተሰጠኝ፡፡ ሁሉም ሰው አብዱኪያር ይልና የአራዳ ልጅ ይላል፡፡ እንደሚመስለኝ እኔ ሁሉንም ነገር ቀለል አድርጌ የማየት ነገር አለኝ፤ምንም ጭንቀት ይምጣ ምንም ችግር ይግጠመኝ እቀልዳለሁ፤ እጫወታለሁ፤ምናልባት ይሄ ነፃ መሆኔ ይመስለኛል የአራዳ ልጅ የሚለውን ስም ያሸለመኝ፡፡ እኛ ሰፈር አጠቃላይ መርካቶ ማለት ይቻላል----ነጋዴው ሲከስር ይቀልዳል፤ያለበለዚያ ማበድና መጥፎ ነገር ውስጥ መግባት፣ ኑሮን መጥላት ይመጣል፡፡ እኛ ሰፈር ደግሞ መውደቅ፣ መክሰርና መፎረሽ የተለመደ የህይወት ሂደት ነው፡፡ ታዲያ የመርካቶ ሰው እነዚህን ከባባድ ችግሮች የሚያልፍበት መንገድ እንደ ሌላው አካባቢ አይደለም፡፡ ወንድ ልጅ ባካችሁ ጉድ ሆኛለሁ ይላል፤ለጓደኞቹ፡፡ እነሱም ተሰብስበው ከችግሩ ቀና ያደርጉታል፡፡ ይሄ የተለመደ ነው፡፡ እየተፎጋገርንና እየተጋገዝን ነው ያደግነው፡፡ ይሄ አስተዳዳጌ ሁሉንም ነገር ቀለልና ፈታ አድርጌ እንዳይ አድርጐኛል፡፡ ይሄ ይመስለኛል አራዳነትንና መርካቶን የሚያገናኛቸው፡፡
    ለአንተ ግን የአራዳ ትክክለኛ ትርጉሙ ምንድን ነው?
    ይሄውልሽ፤ “የድንጋይ ልጅ ቀረ ድሮ፣ የአራዳ ልጅ በርታ ዘንድሮ” የሚል ዘፈን አለኝ፡፡ ድሮ “መገን ያራዳ ልጅ እንድንጋይ ኳሱ፣ ከመቼው ተጮኸ ከመቼው ደረሱ” ይባል ነበር፡፡ አሁን ሁለት ነገር አለ፡፡ አራዳነት የሚገለጽበት ዘመን ሲለያይም አራዳነት ይለያያል ማለት ነው፡፡ እነ ድንጋይ ኳሱ ወደ ጠብና ድብድብ የሚሄድ ነው፡፡ እነ ድንጋይ ኳሱ ከረንቡላም ሊሆን ይችላል፤ የሆነ ዘመን ላይ እንደዛ ነበር፡፡ በአሁን ዘመን አራዳ ራሱን በደንብ ያወቀ፣ ከሰዎች ጋር በደንብ የሚግባባ፣እውቀት ለሚባለው ነገር ሁሉን የከፈተ፣ ትሁት መሆን የቻለ፣ ነገሮችን ቀለል አድርጐ ወደ ጉዳዩ የሚሄድን ሰው ነው እኔ አራዳ የምለው፡፡ ለእኔ ትክክለኛ አራዳ ይሄ ነው፡፡
    ከድምጽ ባሻገር የግጥምና ዜማ ደራሲ ነህ፡፡ በአራቱም አልበሞችህ ስለ ፍቅር፣ ስለ አንድነት፣ ስለ ጀግንነታችን፣ ብቻ በአጠቃላይ ስለ ኢትዮጵያዊነት ጠንከር ጠንከር ያሉ ሀሳቦችን ያለፍርሃት ታነሳለህ፣በዚህም ተቀባይነት አግኝተሀል፡፡ ድፍረቱና ጥንካሬው ከምን የመጣ ነው?
    እውነት ለመናገር እኔ ይሄ ዘፈን ወይም አልበም ይሸጣል ወይም ገበያ ያመጣል ብዬ ሰርቼ አላውቅም፡፡ እንደሱ እንዴት እንደሚሰራም አላውቅም፡፡ እኔ ነፍሴ ደስ ያላትን፣ ሀሴት ያደረግኩበትን ነገር እስከ መጨረሻው እለፋበትና የልቤን ተናግሮልኛል ብዬ ሳስብ፣ ስቱዲዮ ሄጄ እቀረፃለሁ፡፡ ይሄን ከሰራሁ በኋላ እከሌ ይወድልኝ ይሆን እከሌን ያስቀይመው ይሆን ብዬ ተጨንቄ አላውቅም፡፡ ነፍሴን ያስደሰተውን እሰራለሁ፤ አለቀ፡፡ ነገር ግን የተለያዩ ሰዎች ለዘፈኑ ወይም ላስተላለፍኩት መልዕክት የተለያየ ትርጉም ይሰጡታል፡፡ ብዙ ጊዜ አርቲስቶች በምንሰራው ስራ ለትርጉም ክፍት እንሆናለን ማለት ነው፡፡ ክፍተቱ ለመተቸትም ለመሞገስም ለመጠቃትም የተጋለጠ ነው፤ጠባቂም የለውም፡፡ የሆነ ሆኖ አሁንም እኔ የምሰራው ነፍሴን ያስደሰተውን ነው፡፡ ከስራው በኋላ የሚሰጠውን ትርጉም ለመስማት ጊዜ የለኝም፡፡ እኔ ደስ ያለኝን የረካሁበትን ሰርቼ፣ ከዚያ በኋላ የመጣውን መቀበል ነው፡፡ ሁሉም ሰው ቢረዳኝ ደስ ይለኛል፤ካልሆነም የሚመጣውን መቀበል ግዴታዬ ነው፡፡ አንድ ዘፈን አራት ወይም አምስት ደቂቃ ርዝማኔ ነው ያለው፤በነዚህ ደቂቃዎች ውስጥ የአንድን ሰው ጆሮ ተውሼ መልዕክቴን ማስተላለፍ ነው የምፈልገው፡፡ ይህቺ ሰዓት እንዳታመልጠኝ አሪፍ ሃሳብ ለመስራት ጥረት አደርጋለሁ፤አለቀ፡፡
    “መርካቶ ሰፈሬ” አልበምህን እስክትሰራ ድረስ አረብ አገር ነበር የኖርከው፡፡ እንዴት ወደ አሜሪካ ሄድክ?
    ያኔ ጓደኛዬ የነበረችው የአሁኗ ሚስቴ የልጆቼ እናት፣ እኔ ወደ አረብ አገር ስሄድ እሷ ወደ አሜሪካ ነበር የሄደችው፡፡ በእሷ ምክንያት ነው ወደ አሜሪካ የሄድኩት፡
    የልጅነት ጓደኛህን አግብተህ ለዚህ በመብቃትህ ብዙዎች ይደነቃሉ እስኪ ስለ ፍቅራችሁ አጫውተኝ?
    እኔ “ፈንድቼ” ሴት ለመሳም ስደርስ፣ መጀመሪያ የሳምኳት ሴት የአሁኗ ሚስቴ ናት፡፡ እንዴት ጐበዝ ሴት መሰለችሽ? በጣም ነው የምወዳት፡፡ ከፍታውንም ዝቅታውንም በፍቅር አልፈን፣ ሁለት ልጆች ወልደን አብረን በሰላም እየኖርን ነው፡፡ እህቴ የልጅነቴ እንዴት ነሽ (በድምፁ እያንጐራጐረ) የሚለው ዘፈኔ የተዘፈነው ለእሷ ነው፡፡ ሁለታችንም እድለኞች ነን፤ደስተኞች ነን፡፡ በሙያዋም ጐበዝ ነርስ ነች፡፡
    ምናልባት ከ10 ዓመት በፊት ይመስለኛል፣በዚሁ ጋዜጣ ላይ “ኢንፎርሜሽን ውበት ነው” ስትል ተናግረሃል፡፡ ኢንፎርሜሽንና ውበት ምን ያገናኘዋል?
    እኔ በወቅቱ ይህን የተናገርኩት ጋዜጠኛው፤“ከውጭ የሚመጡ ሰዎች አዲስ አበባ ውስጥ ቆንጆ በዝቷል ይላሉ፤አንተስ ምን ትላለህ?” ብሎ ጠየቀኝና ትንሽ ገረመኝ፡፡ ከዚያ ከላይ የገለጽሽውን ነገር ተናገርኩኝ፡፡ ኢንፎርሜሽንና ውበት ምን ያገናኘዋል ያልሽው አሪፍ ጥያቄ ነው፡፡ በእኔ እምነት አንድም አስጠሊታ የሚባል ሰው የለም፡፡ ለምሳሌ አንዲት ሴት አስቀያሚ ተብላ ሞራሏ ወድቆ ይሆናል፤እናም በአጋጣሚ በአንድ የውበት ሳሎን አካባቢ ስታልፍ #ነይ ነይ፤ይሄ የተሰራሽው የጸጉር ስታይል ከአንቺ ፊት ጋር አይሄድም፤ አለባበስሽም እንዲህ መሆን የለበትም” ይሉና ወደሚስማማት ነገር ይመልሷታል፡፡ የፀጉሯን ስታይል ይቀይሩና እንድታምር ያደርጓታል፡፡ ያኔ በራስ መተማመኗ ይጨምራል፡፡ ይህ የመጣው ከኢንፎርሜሽን ነው፡፡ የሚያምርባት ሲነገራት፣ እንዴት ማማር እንዳለባት መረጃ ስታገኝ በቀላሉ ትቆነጃለች ማለት ነው፡፡ አሁን ለምሳሌ የፊት ውበት አጠባበቅ (facial) የሚባለው ነገር በየአካባቢው ተለምዷል:: እኛ  ድሮ የምናውቀው ከሀረሪ የሚመጡት አደሬዎች ፊታቸውን አቦካዶ ቀሲል ምናምን ይቀባሉ፡፡ እነሱ በነበሩበት ደረጃ ስለ ፊት ውበት አጠባበቅ መረጃ ስላገኙ፣ በአቦካዶ መዋብ ችለዋል ማለት ነው፡፡ ለዚህ ነው ኢንፎርሜሽን ውበት ነው ያልኩት፡፡
    ያንተ ሃሳብ “አስቀያሚ ሴት የለችም፤እንዴት እንደምትዋብ የማታውቅ እንጂ” ከሚለው አባባል ጋር ይመጣጠናል ወይም ይቀራረባል ማለት ይቻላል?
    ሙሉ በሙሉ ይመጣጠናል እንጂ፡፡ የቀሲሉንና የአቦካዶውን ነገርኩሽ፡፡ አቦካዶ ፊት እንደሚያሳምር ሌላው ሰው ስለማያውቅ አይጠቀመውም፡፡ የሀረሪ ሴቶች ግን መረጃ ስለነበራቸው ይዋቡ ነበር፡፡ አባባሉ ላይ እኮ “የማታውቅ እንጂ” የሚል ቃል አለ፤በቃ ይሄው ነው ዋናው ሃሳብ፡፡ ሁሉም ሰው ስለ ሁሉም ነገር መረጃ ሲኖረው፣ ሲያውቅ ያምራል፡፡ ይሄው ነው፡፡ ሳታውቂ ታምሪያለሽ፣ ስታውቂ ሰው ታከብሪያለሽ፣ በጣም ስታውቂ ትሁት ትሆኛለሽ፤ ለሰዎች ክብርና ቦታ ትሰጫለሽ፡፡ እስኪ አስቢው፤እነዚህን የሚተገብሩ ሰዎች አያምሩም? ውብ አይደሉም? ማወቅ በጣም ደስ ይላል፡፡
    ማወቅ ዕውቀት---ጥሩ ርዕስ አነሳህ፡፡ አሜሪካ ከሄድክ በኋላ ከሙያህ ውጭ የIT ትምህርት በመማር ዲግሪህን አግኝተሀል፡፡ ከሙዚቃ ወደ ኢንፎርሜሽን ቴክኖሎጂ ማለት ነው ----
    እውነት ነው፡፡ በኢንፎርሜሽን ቴክኖሎጂ ተመርቄያለሁ፤እየሰራሁበትም ነው፡፡ አሁንም ዌብ ፕሮግራመር ሆኜ ነው የምሰራው፡፡ እንኳንም ተማርኩት እላለሁ፤አንዳንዴ ቴክኖሎጂውን ዝም ብዬ ሳስበው፣ አስማት የሚመስሉ ነገሮች ይታዩኛል፡፡ ኢንተርኔት ላይ ቁጭ ብለሽ ብዙ ስራ በጣም በአጭሩ በቀላሉ ሰርተሽ፣ የምትፈልጊውን አግኝተሽ ትወጫለሽ፡፡ ማወቅ ጥሩ ነው፤ አሁን እየሰራሁበት ነው፤ስርዓቱን ሁሉ ለመልመድ በሰዓቱ እየገባሁ በደንብ ነው የምሰራው፡፡
    የIT ተማሪ በነበርክበት ጊዜ ሙዚቃን እርግፍ አድርገህ ትተህ ነበር የሚባለው እውነት ነው?
    አንድ መናገር የምፈልገው ነገር ቢኖር የፈለገ ነገር ይቀራል እንጂ ሙዚቃ አይቀርም፡፡ ግን አይቲውን ስማር ማጥናትና ትምህርቱ ላይ ትኩረት ማድረግ ስለነበረብኝ ሙዚቃ አልሰራም ነበር፡፡ የሆነ ሾው ሲኖር ደረስ ብዬ ሰርቼ ወደ ትምህርቴ እመለሳለሁ፡፡ እየተማርኩ ሙዚቃ ያልሰራሁት ሁለቱንም በአንድ ጊዜ መስራት ስለማይቻል ነው፡፡ ሁለቱንም በአንዴ ልስራ ካልሽ ሁለቱንም አሪፍ አድርገሽ አትሰሪያቸውም፡፡ ትምህርቱ በጊዜ የተገደበና የሚያልቅ ስለነበር ነው ሙዚቃ ያልሰራሁት፡፡
    ልጆችህ የ9 እና የ8 ዓመት እድሜ ያላቸው ናቸው፡፡ አማርኛ ይናገራሉ? እንዴት ነው ወደ ሙዚቃው ያደላሉ? በስራህ ላይ ምን አይነት ስሜት አላቸው?
    እኛ ቤት አንድ የተለመደ ስርዓት አለ፤እነሱም እኔም ቁጭ ብለን እናጠናለን፡፡ ልጆቼ ሲያድጉ የፈለጉትን ሙያ የመምረጥ መብት ቢኖራቸውም መሰረታቸው በትምህርት የታነፀ እንዲሆን እፈልጋለሁ፡፡ ሙዚቃም ይወዳሉ፤አብረን የምንጫወትበት ጊዜ አለ፡፡ በእኔም ስራዎች ደስ ይላቸዋል፡፡ አማርኛ ያወራሉ ወይ ላልሺው፣ማውራት ያወራሉ ግን ሲያወሩ ይሄ የሞልቃቃነት አይነት አማርኛ ነው የሚሆነው፡፡
    እስኪ ምን እንደሚሉ ለምሳሌ በልልኝ ?
    አንዳንዴ ግራመሩን እንደ እንግሊዝኛው ይገለባብጡታል፡፡ ለምሳሌ “He is smart” ማለት ሲፈልጉ፣ “እሱ ነው ስማርት” ይላሉ፣ “እሱ ረበሸ በጣም“ ይላሉ፡፡ ነገር ግን በደንብ ይሰሙናል÷ሁሉንም ያውቃሉ፡፡ አፋቸው ላይ የሚከብዳቸው ብዙ ስለማይናገሩት ነው፡፡ አንዴ ክረምት ላይ ባመጣቸው በጣም አሪፍ ይሆናሉ፤ምክንያቱም ከልጆች ጋር ብዙ አማርኛ የማውራት እድል ይኖራቸዋል፡፡
    እስካሁን ወደ ኢትዮጵያ መጥተው አያውቁም?
    እስካሁን አልመጡም፡፡ በሚቀጥለው አመት መጥተን እዚህ በደንብ የመቆየት እቅድ አለን፤ እንደ ፈጣሪ ፈቃድ፡፡
    የዛሬ ሳምንት ቅዳሜ አዲስ አበባ ስትገባ ልዩ የአቀባበል ስነስርዓት ተደርጐልህ ነበር፡፡ አቀባበሉን እንዴት አገኘኸው?
    የአቀባበሉ ነገር --- እንደዚህ ይሆናል ብዬ አልጠበቅኩም ነበር፡፡ እንደነገርኩሽ የሆነ እድሜ ላይ ስደርስ ብዙ ትኩረት የሰጠሁት ወደ መሰረቴ ሆነና ብዙ ነገር ይቆጨኝ ጀመር፡፡ ከሚቆጩኝ ውስጥ ለምሳሌ የድሮ ትምህርት ቤቴን ሻውልደማን አለመጐብኘቴ አንዱ ነበር፡፡ ያን የመሰለ አቀባበል ከተደረገልኝ በኋላ በቀጥታ ያመራሁት ወደ ት/ቤቴ ሻውልደማ ነው፤ግን ካስተማሩኝ ውስጥ ማግኘት የቻልኩት ሁለት መምህራኖቼን ብቻ ነበር፡፡ ሌሎቹ በሙሉ በህይወት የሉም፡፡ ይሄን ይሄን ሳይ ልቤ ተሰበረ (በጣም እያዘነና አይኑ በእምባ እየተሞላ) እነዚህ ሁለቱም በጣም ተጐሳቁለው ነው ያገኘኋቸው፡፡ በጣም ነው ያዘንኩት፡፡ ሲያገኙኝ የተሰማቸው ስሜት… ያን ቀን ሳለቅስ ነው የዋልኩት፡፡ አንዱ ያገኘሁት መምህሬ ጌታቸው በጣም የሚገርም መምህር ነበር፡፡ የዛሬን አያድርገውና ሒሳብም ህብረተሰብም አስተምሮኛል፡፡ ጌቾ በጣም የሚያምር ሉጫ ፀጉር ነበረው፡፡ የሚያምር መምህር ነበር፡፡
    አሁን እሱን ሳየው እንዴት እንዴት እንደሆንኩ ብታይ (አይኑ በእንባ ተሞላ) ይህን አስተማሪዬን ስመለከት፣ እኛ አገር ክብር ለሚገባቸው እንዴት ክብር እንደምንነፍግ ነው የተሰማኝ፡፡
    እንዴት ማለት?
    በዚህ የግሎባላይዜሽን ዘመን ከውጭው ዓለም ልንወርሳቸውና የእኛ ልናደርጋቸው የሚገቡ ብዙ መልካም ባህሎች አሉ፡፡ ለምሳሌ አሜሪካኖች ለወታደሮቻቸው ከፍተኛ ክብር ይሰጣሉ፡፡ መንገድ ላይ ሳያገኟቸው እኔንና አገሬን ለመጠበቅ ስለምትከፍሉት መስዋዕትነት እናመሰግናለን በማለት ያከብሯቸዋል፡፡ አስተማሪዎቻቸውንም እንደዛው፡፡ እኛ ይህን በፍፁም እያደረግን እንዳልሆነ በድሮ በአስተማሪዎቼ ነው ያየሁት፡፡
    ስለ ኮንሰርቱ ዝግጅት አልነገርከኝም?
    ለኮንሰርቱ ዝግጅት የተጀመረው በማናጀሬ ብስራት ስዩም (ቢሲ) በኩል ከሶስት ወር በፊት ነው፡፡ ቢሲ የአቡሸማኔ ኢንተርቴይመንት ማርኬቲንግ ዳይሬክተርና ባለቤት ነው፡፡ የእኔን የኮንስርት ስራ ለማመቻቸትና ለማሳመር ሁሉን ነገሩን ትቶ እዚሁ ኢትዮጵያ ለሶስት ወራት ቆይቷል፡፡ በጣም አመሰግነዋለሁ፡፡ “ጥቁር አንበሳ” አልበሜን እንዳሳመረ ኮንሰርቱንም የተዋጣለት እንደሚያደርግ እምነቴ ነው፡፡ አሁን ከአራቱም አልበሞች ውስጥ “ይሄ ይዘፈን፣ ይሄ ይዘፈን” እየተባለ ዘፈኖች ትንሽ በዝተዋል፤ እንደምንም ብዬ ከሁሉም አልበሞች 20 ያህል ዘፈኖችን ለመዝፈን ከመሀሪ ብራዘርስ ባንድ ጋር ከሰኞ ጀምሮ በተከታታይ ልምምድ እያደረግን እንገኛለን፡፡ መድረክ ላይ ከሀኖክ መሀሪ ጋር አብረን እንጫወታለን፡፡ ከናፈቁኝና ከናፈቅኳቸው አድናቂዎቼ ጋር ጥሩ ጊዜ እናሳልፋለን ብዬ አምናለሁ፡፡
    ጥቁር አንበሳ ኮንሰርት ሚያዚያ 27 በአርበኞች ቀን የተደረገው ሆን ተብሎ ነው
    አድምጠሽው ከሆነ… “ጥቁር አንበሳ” የተባለው ዘፈን፤ ይህችን አገር አስከብረው ያቆዩልንን ጀግኖች አርበኞች የሚያወድስ ነው፡፡ ኮንሰርቱን በ27 ያደረግነው አርበኞች ፋሺስት ጣልያንን ድል ያደረጉበት 75ኛ ዓመት በዓልን ለማሰብና አርበኞችን ለማመስገን ነው፡፡ ፕሮሞተሮቹ ይህን ሃሳብ ሲያቀርቡ፣ ደስ ብሎኝ ተቀበልኩት፡፡ ሁሉንም የሚያስደስት ይመስለኛል፡፡

     

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  • Lamb review

     

    A couple of months ago, I was in a taxi, on my way to a place I cannot quite recall now. Behind me were two grown-ups talking about whatever it is grown-ups talk about, but their conversation drew me in once one of them mentioned a new business he was starting. He was going to open some kind of mobile repair shop, but he also mentioned that it is a risky venture because, nowadays, places like this are in abundance, and very competitive. His friend asked him what he would do if this particular enterprise did not pan out, and the guy – not too seriously – answered, “I don’t know… what everybody is doing I guess, make a movie!” And they both laughed.

    That is the fundamental reason I do not review Ethiopian movies. Most Ethiopians do not go into the film business because they have the aptitude for the medium but because they do not have the aptitude for anything else. Unlike Engineering or Medicine (or any type of job that is respected), one does not need a college degree to make movies but a lot of money. And I am not in the business of critiquing someone’s business venture but commenting on films that have a soul and mean something, and are made by people who know what a great movie is supposed to look like.

    Yared Zeleke is a man who, for his debut film, radiates Satyajit Ray and makes a simple but purposeful movie about a child that is forced to grow up.  The film is entitled Lamb (and “Dangel” in Amharic) and is the first (but hopefully not the last) art film I have ever seen at Matti Cinema. The film has been screened at this year’s Cannes Film Festival in France (in a section known as the Uncertain Regard), an event some hold in higher regard than the Oscars and the only reason that led me to give the film a shot. Despite my reservations, I did not regret my decision.

    Lamb is the story of Ephraim, who lives in a small rural village with his father. He has recently lost his mother to famine and his father has decided to move to a city because there is no one to fulfil the two males’ household needs; which could not be further from the truth. Ephraim is actually a great cook and does not at all mind cleaning. But in his father’s eyes – even though he loves and treats his son respectfully – this is an unorthodox habit that should not be encouraged in men.

    While his father goes to the city looking for a better way of life, Ephraim is, in the meanwhile, given to his father’s aunt who graciously takes him in. Also living with the aunt are her son (a stereotypical conservative Amhara farmer that is superbly played by Surafel Teka) and his wife. They have two children of their own. One of them is the rebellious Tsion (played rivetingly by Kidist Siyum) who spends most of her time reading newspapers rather than finding a suitable mate.

    It does not take long before they all figure out how eccentric Ephraim is. He cannot farm, he can cook, and he regularly speaks to his lamb as if it were human. He sparks a friendship with Tsion, and for a while she becomes a benchmark for his unique demeanour. Perhaps influenced by her, he starts selling samosas in order to make enough money for a bus fare to where his father is living. This little endeavor becomes more crucial when his uncle vows that Ephraim would be made to slaughter the lamb for an upcoming holiday, so as to make a man out of him.

    None of this is presented as a grand overarching plot by which the movie is bound. The story unfolds in a subtle, leisurely manner that lets the characters shine through. And this is where the director’s talent lies, in his ability to not overdo and let the scenic cinematography, the dependable actors and the superb score tell the story.

    Haile Gerima’s Teza is without a doubt the greatest Ethiopian movie ever made and Lamb, probably, the second best. But I doubt if the movie will ever be as popular as Teza since it does not have a definitive plot and is too slow-paced for mainstream audiences. There is not as much camera movement, some shots are uninterrupted and long and usually wait for the characters to finally do something without much use of jump-cuts. Sometimes (and these are the film’s best moments), the movie is preoccupied with showing us such spontaneous moments as a bird flying around, people feasting, Ephraim sleeping, his lamb grazing, the wind blowing through the grass on a mountainous green hill and many other sequences most viewers will resent out of impatience.

    All of the characters, and their story, belong in older times when it was okay for films to have more traditional plots; in a time when nothing cosmic was supposed to happen in movies. Watching it, I was reminded of Yasujiro Ozu’s films where things transpire under the surface and the theme is not extracted from what the characters feel or do, but from how they carry on life without actually winning or losing but simply surviving.

    The film, curiously enough, is entitled Lamb, even though the lamb does not play that much of a part in the plot, like Ozu’s films, where something is not always what it seems to be but only a prop to help us understand something more significant. The lamb – as I understand it – is Ephraim’s childhood innocence. He talks to it, not only because the lamb is his only confidant (which is what it seems like on the exterior) but because it is a metaphorical version of himself. The lamb accurately represents what Ephraim is, someone that needs to be guided and taken care of – like sheep, which are nowhere as smart as goats. His idea of the world is skewed and childish. He thinks he can buy his way to his father by ridiculous means that work only in movies.

    Lamb is more realistic. Human beings are more complicated than characters and life more than movies. The film ends when the lamb (like his childhood) forgets Ephraim, when he learns to adapt, when he accepts his circumstances, when he gives up and tragically grows up. The lamb is that part of him that believed in the impossible and took most things for granted. Like the lamb, who probably thinks everyone is like Ephraim (the way Ephraim thought everyone was like his father), when in truth, even though it avoids one slaughter, it will eventually be killed and eaten in the next. Not so much unlike Yared Zeleke’s young protagonist.

     

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  • Hotel Transylvania 2 review

    The world seems to be in perpetual agony. Horror is always around us and it is unlikely to cease anytime soon. Nonetheless, and even though some might find this impossible to believe, Earth, at present, is at its most peaceful. Just to make clear how violent Earth’s past history has been, let me innumerate some of the most distressing news just this week.

    To begin with, there is the on-going war in Syria which Russia aggravated by giving Assad, not just enough ammunition, but military manpower to bomb his innocent civilians. There is also the immigration problem in Europe which at the moment seems impossible to bring to a satisfying halt. Across the Atlantic, in the US, there is a fresh mass shooting that has left nine people dead, and in the Middle East, in Afghanistan, the country’s 5th biggest city (Kunduz) has just been retaken by the Taliban. To round it all up and further frustrate our inconsequential existence, there is a new Adam Sandler movie.

    I apologise if the above seemed a bit grotesque (South Park fans will love it) but I believe it shows just how tired I am of Sandler and his usual garbage. Fortunately, there is some consolation since we do not have to physically put up with him for two theatre hours, only an animated version of himself.

    Sandler reprises his (voice) role as Count Dracula in Hotel Transylvania 2, the sequel to the 2012 film of the same name. The fact that his character is known to haunt his victims by night is a welcome contrast to the fact that Sandler haunts us by appearing in and writing movies. In the 2012 film, we learned that in the franchise world, Dracula owns a hotel exclusively for monsters. But a human accidently found it, Dracula’s daughter fell in love with the human (much to Drac’s chagrin) and everything changed.

    In this film, Drac becomes a grandpa (“vampa”) but starts grappling with the fact that his grandson – born of an interspecies intercourse between a vampire and a human being (some parents might consider this film inappropriate for kids) – might turn out to be a human. If audiences had thought that Dracula had got over his Homo sapiens phobia in the first film, they should think again.

    So the film, essentially, is a conglomeration of a series of gags documenting Dracula’s struggle to show his four year old grandson that a monster’s life style is much cooler than that of a human being’s. And he must accomplish this before his open minded vampire daughter can find out about it. No plot, just a series of numerous, unfunny punch lines whose only purpose is to last 89 minutes and warrant being called a feature film.

    Sandler – in addition to providing the protagonist’s voice – is also the film’s co-writer. Furthermore, since we get Sandler we also get his usual band of so-so comedian’s such as Kevin James and David Spade. None of this people, or the other voice actors, are essential in their roles – anyone else, you or me, could have easily done their jobs – except, of course, for Mel Brooks  who plays Dracula’s father, Vlad. Comedy maestro Brooks, probably chosen for the part as a sort of homage on the filmmakers’ part, has done more for the evolution of comedy movies in Hollywood than most, and here, providing his calming, grandfatherly voice, is the only thing about this film that is admirable.

    Transylvania 2 is such a huge step down from last week’s excellent Sicario, that I kind of bruised my knee (or was it my artistic sensibility?). But that is an outrageous comparison as the two movies could not be more different from each other. So let us compare Hotel Transylvania 2 to another animated movie released not long ago – Inside Out, which is easily one of the greatest movies ever made. A kind of psychological film full of layers as it is full of fun. A film for the family in its fullest term; less because it is the kind of movie that is simple in narrative and more because it is the kind of film that has something to say to everyone that watches it. A film that deserves a place at the cinematic status that Pixar’s greatest 2000’s animated movies (Wall-E, Ratatouille, Finding Nemo, Toy Story 3, Up, The Incredibles) and other great animated films that were made without the companies insistence (Miyazaki’s Spirited Away and the IranianPersepolis) share. Hotel Transylvania 2, in comparison, and in Bukowski’s words, is not even a thumbprint on the window of a skyscraper.

    What is unacceptable about Transylvania 2, aside from its abysmal quality, is the price of admission. The film is in 3D for the only reason that most animated movies this days are usually in 3D. As children make up a significant portion of the audience, and the film does not have a good story to offer, or any type of novelty to showoff, the least it can do is bid for some sense of fashion. The current style is that blockbusters are in 3D (not good 3D, but any type of 3D, as long as it is impossible to watch without 3D glasses) and that is all Transylvania 2 has got going on for it.

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  • Spectre review

     

    The gate to Sheraton Addis’ Lalibela Ballroom was decorated in the fashion of the famous gun barrel sequence of the James Bond film franchise. But instead of the classical black and white imagery, the gun barrel was green, which is not at all strange because this particular screening was sponsored by Heineken, the brewing company, whose trademark consists of the colour green. Everyone was told to wear a suit and a black tie (or else!) just like 007, which was fitting because, beyond the gates, we were promised the new Bond movie, Spectre. The entrance hall itself was full of either Heineken or Bond cardboard cut outs.

    After the cocktail and the brilliant James Bond themed jazz fusion performances, which was the highlight of the night, two obnoxious hosts blared over the speakers, introduced themselves as 001 and 002 and proceeded to mentioning a couple of facts that were both related and unrelated to Bond. But one thing they said – that this was the first Ethiopian film premiere – bothered me because this could not be further from the truth.

    First of all, this cannot be the first Ethiopian film premiere because almost every Ethiopian movie ever made has premiered in Ethiopia. Secondly, the whole revelry was a means for Heineken to shine instead of the other way around, with Spectre, almost as an afterthought. But the third reason trumps them all. This entire merrymaking – all the drinks, the exotic foods and the enticing live music – at the most expensive hotel in Ethiopia came at a price. And the price was the viewing experience. The screening room had so many technical difficulties that I missed the relatively competent cinema halls of Edna Mall. The chairs were not tiered, like in an actual theatre hall, but arranged on a normal flat floor, where only the people sitting at the very front were able to watch 100pc of the screen. The screen itself had pieces missing; some part of the upper and lower portions were cropped off, hiding characters’ hair or subtitles. But worst of all were the speakers, which sounded too thick and had no sound range. I could not hear half the dialogue in the film.

    Under normal circumstances, I would have been pissed off at such inconveniences but not this time. It was not like I was watching a particularly great film. Spectre is one of those Bond films, and there are many of them, that simply does not resonate. It was pretentious and incoherent, not to mention silly. Even Daniel Craig – who has been doing so great as Bond – comes off as clichéd. And the latest Bond theme song was catchy, but only catchy – great Bond theme songs have been much more than that.

    As always, the film begins with an action sequence, this one taking place in Mexico, during a celebration known as the Day of the Dead, which provides the film with fantastic shots. The scene uses long tracking shots and exciting explosions but ends with an anticlimactic helicopter fight extravaganza. Bond’s unauthorized intervention in this incident, puts him in bad waters with his new boss, the new M (Ralph Fiennes). So, Bond decides to go rogue – with a little help from Q (Ben Whishaw), and Miss Moneypenny (Naomie Harris) – and hunt the mysterious criminal organization, Spectre, all by himself. This brings him into contact with the organisation’s leader, the film’s main villain, a man who considers himself “the author of all [Bond’s] pain.”

    The strength of a good Bond film comes not from inventiveness but the art of using the previously established recurring themes and features optimally. One of those features is the Bond Girls, which is the only thing Spectre does not completely muck up. The first Bond girl – there are usually two per film, sometimes three – courted, is played by Monica Bellucci, who should be very flattered because Bond does not normally go for girls over 40, let alone 50. The second is played by Léa Seydoux, with whom I fell in love back in 2011 when she appeared in a small but important role in Woody Allen’s Midnight in Paris. To be honest, I would have been more surprised had she not become a Bond girl.

    The film is directed by Sam Mendes, who also made the previous Bond outing, Skyfall, which turned out to be one of the best Bond films. It is sad for Mendes somehow, as he could have gone out on top, he could have chosen a project that was normal, less hyped and less expensive as his next film. Spectre cost an eye watering $300 million; an ideal example of how money might buy all the special effects, Heineken’s merchandising and distribution rights in the world; but not an intelligible narrative or a good plot. Or a better performance from its lead performer!

    What we have always loved about Craig is that, he is the first Bond actor to successfully break away from the Sean Connery inspired personification of the character. Connery belonged to the 1960’s, and even though he was playing a high profile secret agent, it was okay for him to be humorous, and more cool than believable; in fact, it depended on these factors. Craig, though, was serious, precise, rugged and reticent. He is more in line with the Man with No Name characters of the Sergio Leone/Clint Eastwood league than the typical Bond specimen. But, no trace of that Craig exists here. It does not really matter if this is Craig’s fault or the scriptwriters’ inability to provide him with good material; the result for the audience is the same – a dull James Bond.

    There were 15 minutes of Heineken commercials before the film started in the screening room. That was expected, as according to Gerrit Van Loo, the Heineken breweries Managing Director, the company has been a long time sponsor (in terms of packaging and product placement; Bond drinks a Heineken at some point in this film) of the film franchise. But that sole Edna Mall commercial in between those commercials struck me as odd. So, I asked around and I was told that they got an authorized copy of this film from Matti Cinema, and that the film will be opening there this week; which, in Ethiopia, seems to be – and I never thought I would say this as I have always been frustrated by their interminable 3D and big budget offerings – the only decent place to see a film.

     

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