
Date: February 26, 2015
Venue: Choices, Baricho Road
Time: 8-11 pm
No Cover Charge
iConcert Series Featuring Muthoni DQ, Feb. 21 2015 @ Homeboyz Radio
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Kenya’s leading female rapper, drummer, singer and Entrepreneur, Muthoni Drummer Queen teams up with HOMEBOYZ RADIO for an unforgettable concert experience dubbed the iConcert on Saturday 21st February 2015.
About
The iConcert Series is a pioneering, cross media entertainment concept dedicated to live music. For the first time ever in Kenya, fans get to attend a concert “Live on Radio and on the Internet”. While the artist performs live to a very select number of super-fans and industry players, the concert broadcasts live on the HomeBoyz Radio 103.5FM and can be streamed live online (video & audio) on www.homeboyzradio.co.ke as well as on the Muthoni Music YouTube Channel (https://www.youtube.com/user/muthonimusic) . Given technological advances, allow artists to have fans spread out across Kenya and the globe, the quarterly concert format gives access to all the artists fans to attend the concert from the comfort of their homes, with their friends and loved ones, FOR FREE! The performance comes complete with full, state of the art visual and audio production and is a first of its kind in the region.This platform creates the perfect opportunity for MDQ to release her impeccably produced and much anticipated hip-hop album MDQ UPGRADED. Having released MDQ on a digital platform in 2013, Muthoni has been hard at work in 2014 using the feedback she received from fans and working on remixes of key songs from the album. The result, MDQ UPGRADED features collaborations with int’l no 1 artists such as Wyclef Jean (USA), Khuli Chana (SA), Navio and KEKO (both UG), Nyashinsky (Kleptomaniacs), Kagwe Mungai (KE)Arunga (Macklemore & Ryan Lewis)
Being the first album release party of 2015, and the first release from a FEMALE hiphop artist from Kenya, Muthoni will be pulling out all the stops and has confirmed that she will have live remixes of the songs featuring the best Kenyan Hiphop artists including: Rabbit, Collo, Kristoff, Octopizzo. Kagwe Mungai and Blinky Bill will also be making a guest appearance at the show. This promises to be the hottest show at the start of this year and we urge you to make a date with Muthoni Drummer Queen and HomeBoyz Radio on 21st Feb 2015 from 9pm – 12am.
MDQ Upgraded is available on iTunes for international download and locally on Mdundo Music from the 20th Feb 2015.
Angolan Songstress Aline Frazão Live in Nairobi, Feb. 21 2015 @ Tribe Kenya
Lusophone Film Fest Nairobi, Roots International and Zelalem are proud to present for the first time Live in Nairobi Angolan songstress Aline Frazão.
Date: February 21, 2015
Venue: Tribe Kenya – Limuru Rd. next to Village Market Mall
Time: 8 for 9 pm
Entry: Advance KES 2000 and at the Gate KES 2500
Tickets can be purchased at the following Java outlets (Gigiri, Sarit, Abc, Valley Arcade, Junction & Yaya) and online via Ticket Sasa
About
ALINE FRAZÃO was born in Luanda and lived between Lisbon, Madrid, Santiago de Compostela and Barcelona.In life as in music there are no frontiers or oceans stopping her. She has debuted on stage at nine, learning since to walk the paths of traditional music from Angola, Cape Verde, MPB from Brazil or jazz.
After her first record “Clave Bantu” (2011) she is showing herself to the world with “Movimento” (2013). Aline composed all the songs of both records and was the producer of “Movimento”.
Aline performed at the just concluded Sauti za Busara festival in Zanzibar where she left the audience impressed with her mellow performances.
Panel Discussion: ‘Do they know it’s Christmas’ Really?! Philanthropy in a time of Ebola, Feb. 13 2015 @ BIEA

Date: Friday, 13 February 2015
Venue: British Institute in Eastern Africa, Laikipia Road, Kileleshwa
Time: 3.00 pm- 5.00 pm
Entry: by RSVP – seminars@biea.ac.uk
Panelists: Dr. Firoze Manji (Pan-African Baraza), Dr. Christine Sagini (Parliamentary Health Committee)
Moderator: Wangui Kimari (York University)
About
From the Live Aid concerts of the 1980s, and again last December, to Kony2012, large-scale aid media events and philanthropic practices and discourses have proved remarkably persistent features of global North-South relations, despite being subjected to repeated critiques from both ends of the political spectrum. For example, Bob Geldof and his colleagues, unrelenting in their production of “quick fix” mechanisms for Africa, have faced considerable criticism for the recent “Band Aid 30” song recorded and sold to raise money for international efforts to contain the recent Ebola outbreak in West Africa, echoing resounding criticisms of previous, similar initiatives more than two decades ago. His two word “fuck-off” message to recent criticisms illustrate the contradictions and conceit that lie behind these charities, which hark back to their genesis in the philanthropy of industrial, class and merchant Capital during the Victorian era, and appear in some respects to have endured largely unreformed since. Moreover, these aid-as-spectacle events occur concurrently and conflictingly within and alongside the effects of continuing and expanding structural inequalities and neoliberal policies, such as the Structural Adjustment Programmes (SAPs) of the 1990s, exploitative trade agreements and mineral extraction, and the militarization of the continent under the imprint of ‘security’ agendas, which emerge from the same global North-South dynamics as the new celebrity endorsed philanthropy. Enter Ebola. The recent announcement—met with relatively little fanfare on the continent—that the US would send troops to help stem the spread of Ebola, was also couched in terms of historical philanthropic practices and discourses that purport to bring “Christmas” goodwill to those in need, but in ways that arguably benefit the donor most, particularly long ailing rock stars, all the while reifying longstanding images of a savage and pathetic Africa.Engaging with these events, our forum seeks to attend to the following questions: What imperial effects, international capital processes, stereotypes and local agency on the ground do such aid endeavours presuppose, entail, reveal, and disguise? How, and by which measure, ought we to evaluate the effectiveness, “good” or desirability of aid, particularly “celebrity aid”, this new philanthropy, as a mode of international engagement in Africa and beyond? What political opportunities for both would-be donors and recipients does this aid model, or even AID in general, open and foreclose, and at which scales, within which temporal horizons? What, then, is the way forward for “aid” on local, regional and international fronts?







