Entertainment
Opinion: Not another revival of Band Aid's 'Do They Know It's Christmas?'
On Nov. 25, Band Aid released the “ultimate remix” of “Do They Know It’s Christmas?,” the rock charity single from 40 years ago that, in addition to whatever good it has done, also broadcasts a narrative that undermines an entire continent’s dignity and agency. The recording has raised millions for humanitarian aid but has also furthered misrepresentations that have long justified treating Africa as a blank slate for Western intervention.
In 1984, Bob Geldof, then the lead singer for the Boomtown Rats, brought together a supergroup of British and Irish rock stars to perform “Do They Know It’s Christmas?,” a song he co-wrote after seeing BBC reports of widespread famine in Ethiopia. The lyrics are a pop-song paean to colonialism, reminiscent of Hegel’s 19th century thinking when he dismissed Africa as “unhistorical, undeveloped” and “devoid of morality, religions and political constitution.”
Lines such as “Where nothing ever grows / No rain nor rivers flow” and “Well tonight, thank God it’s them instead of you” painted Ethiopia as helpless, barren and dependent on Western salvation. In 1984, the song, accompanied by wrenching famine images, simplified a complex crisis, reducing the nation’s historical, cultural and religious identity to a caricature of despair for Western audiences.
The Ethiopian famine of 1984 was far from a straightforward natural disaster. It was exacerbated by the civil war between Ethiopia’s Soviet-aligned Derg regime and insurgent groups such as the Tigrayan People’s Liberation Front supported by Western nations. Cold War geopolitics turned the famine into a proxy battleground, with the U.S. and U.K. providing both famine relief and covert support to insurgents seeking to weaken the Derg.
The original Band Aid release set a record for Christmas sales in the U.K., and eight months later, Geldof organized Live Aid, a televised concert that attracted more than a billion viewers in more than 100 countries, or roughly a third of humanity. Broadcast over 16 hours from Wembley Stadium in London and John F. Kennedy Stadium (since demolished) in Philadelphia, it was a landmark cultural event featuring performances by David Bowie, Madonna, Paul McCartney and dozens more, and was attended by British royalty, including Princess Diana. The spectacle raised an astonishing $50 million in pledges, alongside additional revenue from sold-out merchandise. It was hailed as the pinnacle of humanitarian success.
However, behind the euphoric Live Aid headlines lay dark questions. In a memoir, Fikre Selassie Wogderess, Ethiopia’s prime minister from 1987 to 1989, said only $20 million worth of aid actually reached the country in the mid-’80s. Reports — denied by Geldof and, in one instance, retracted by the BBC — have suggested that some of the funds could have landed in rebel hands. Since 1985, the Band Aid Charitable Trust is estimated to have raised more than $178 million for African relief, but the broader context cannot be ignored.
Beyond the famine, the West’s involvement in Ethiopia turned into overt political meddling. In 1991, during the fall of the Derg, the U.K. and U.S. orchestrated a peace conference in London that enabled the TPLF to rise to power. This minority-led government ruled Ethiopia for 27 years, exacerbating ethnic tensions and sowing the seeds of instability that continue to plague the nation. The parallels with the Berlin Conference of 1884 — 2024 marks its 140th anniversary — where European powers divided Africa for their gain, are striking. Both events reveal a pattern of external forces imposing political structures on Africa to serve their interests, heedless of the continent’s complex histories and diverse peoples.
Band Aid’s long-term impact on Africa’s image is equally troubling. The branding of Ethiopia — and by extension, Africa — as a monolithic land of suffering has been repeated through the years with revivals of “Do They Know It’s Christmas?,” including Band Aid II in 1989, Band Aid 20 in 2004, Band Aid 30 in 2014 and now Band Aid 40, shaping how the world sees and engages with Africa, and no doubt influencing investment, collaboration and policy decisions.
The lyrics have been edited in response to critics calling the song demeaning and rife with colonial tropes, but it remains a self-congratulatory and tone-deaf exercise. A majority of Ethiopians are Christians; the country adopted Christianity as early as the 4th century AD. Ethiopians knew it was Christmas in the winter of 1984, and they know it now — despite the song’s patronizing question.
And Ethiopia continues to be misrepresented in the Western imagination. Far from being a helpless land, it is the cradle of human civilization with a legacy as a leader in Africa’s fight against colonialism. Although the country in 2024 is no utopia — its challenges are real — it has survived a century of external interference and internal struggles. Ethiopian Prime Minister Abiy Ahmed responded succinctly to the 2024 Band Aid remix: “A good cause that has not evolved with the times might end up doing more harm than good.”
The relentless revival of narratives centered on helplessness and dependency distorts the rich and complex realities of Ethiopia and Africa. Rather than perpetuating outdated stereotypes, we must elevate African voices and champion a future where Africa leads and inspires on its own terms.
Elias Wondimu divides his time between Ethiopia and Los Angeles. He is the founding director of Tshehai Publishers, the editorial director of the International Journal of Ethiopian Studies and a senior fellow with the International Strategic Studies Assn.
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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