Ani
—  City  —
Անի
Ruins of the medieval Armenian city of Ani, as viewed from Armenia
A map of Ani
Ani A map of Ani
Coordinates: 40°30′27″N 43°34′22″E / 40.5075°N 43.57278°E / 40.5075; 43.57278Coordinates: 40°30′27″N 43°34′22″E / 40.5075°N 43.57278°E / 40.5075; 43.57278
Country	Turkey
Province	Kars Province
Elevation	1,464 m (4,803 ft)
Population
• Estimate ()	Uninhabited

Ani (Armenian: Անի)^[1][2] is a ruined and uninhabited medieval Armenian city-site situated in the Turkish province of Kars, near the border with Armenia. It was once the capital of a medieval Armenian kingdom that covered much of present day Armenia and eastern Turkey. The city is located on a triangular site, visually dramatic and naturally defensive, protected on its eastern side by the ravine of the Akhurian River and on its western side by the Bostanlar or Tzaghkotzadzor valley. The Akhurian is a branch of the Araks River and forms part of the current border between Turkey and Armenia. Called the "City of 1001 Churches",^[3] Ani stood on various trade routes and its many religious buildings, palaces, and fortifications were amongst the most technically and artistically advanced structures in the world.^[4][5]

At its height, Ani had a population of 100,000–200,000 people and was the rival of Constantinople, Baghdad and Cairo.^[6] Long ago renowned for its splendor and magnificence, Ani has been abandoned and largely forgotten for centuries.^[2][7]

History[link]

Etymology[link]

Armenian chroniclers such as Yeghishe and Ghazar Parpetsi first mentioned Ani in the 5th century AD.^[6] They described it as a strong fortress built on a hilltop and a possession of the Armenian Kamsarakan dynasty. The city took its name from the Armenian fortress-city and pagan center of Ani-Kamakh located in the region of Daranaghi in Upper Armenia.^[6] Ani was also previously known as Khnamk (Խնամք), although historians are uncertain as to why it was called so.^[6] Johann Heinrich Hübschmann, a German philologist and linguist who studied the Armenian language, suggested that the word may have come from the Armenian word "khnamel" (խնամել), an infinitive which means "to take care of".^[6]

Capital of the Bagratuni kingdom[link]

Bagratuni kingdom – Armenia, around the year 1000 AD

By the early 9th century the former territories of the Kamsarakans in Arsharunik and Shirak (including Ani) had been incorporated into the territories of the Armenian Bagratuni dynasty.^[8] Their leader, Ashot Msaker (Ashot the Meateater) (806–827) was given the title of ishkhan (prince) of Armenia by the Caliphate in 804.^[9] The Bagratunis had their first capital at Bagaran, some 40 km south of Ani, before moving it to Shirakavan, some 25 km northeast of Ani, and then transferring it to Kars in the year 929. In 961 king Ashot III (953–977) transferred the capital from Kars to Ani. Ani expanded rapidly during the reign of King Smbat II (977–989). In 992 the Armenian Catholicosate moved its seat to Ani. In the 10th century the population was perhaps 50,000–100,000^[10].By the start of the 11th century the population of Ani was well over 100,000, and its renown was such that it was known as "The city of forty gates" and "The city of a thousand and one churches."

Ani attained the peak of its power during the long reign of King Gagik I (989–1020). After his death his two sons quarrelled over the succession. The eldest son, Hovhannes Smbat (1020–41), gained control of Ani and his younger brother, Ashot IV (1020–40), controlled other parts of the Bagratuni kingdom. Hovhannes-Smbat, fearing that the Byzantine Empire would attack his now weakened kingdom, made the Byzantine Emperor Basil his heir. In January 1022, the Catholicos Peter, handed over to Basil II who was wintering with his army in Trebizond a document from Hovhannes-Smbat pledging his kingdom to the emperor in the event of his death.^[11] When Hovhannes-Smbat died in 1041, the successor to Basil, Emperor Michael IV claimed sovereignty over Ani. The new king of Ani, Gagik II (1042–45), opposed this and several Byzantine armies sent to capture Ani were repulsed. However, in 1045, after the capture of Ashot and at the instigation of pro-Byzantine elements amongst its population, Ani surrendered to Byzantine control.^[6] A Greek governor was installed in the city.

Cultural and economic center[link]

Ani did not lie along any previously important trade routes, but because of its size, power, and wealth it became an important trading hub. Its primary trading partners were the Byzantine Empire, the Persian Empire, the Arabs, as well as smaller nations in southern Russia and Central Asia.^[6]

Sacking and desolation[link]

In 1064 a large Seljuk Turkish army, headed by Sultan Alp Arslan, with the help of the Caucasian Georgians headed by King Bagrat, attacked Ani and after a siege of 25 days they captured the city and slaughtered its population. An account of the sack and massacres in Ani is given by the Arab historian Sibt ibn al-Jawzi, who quotes an eyewitness saying:

The army entered the city, massacred its inhabitants, pillaged and burned it, leaving it in ruins and taking prisoner all those who remained alive...The dead bodies were so many that they blocked the streets; one could not go anywhere without stepping over them. And the number of prisoners was not less than 50,000 souls. I was determined to enter city and see the destruction with my own eyes. I tried to find a street in which I would not have to walk over the corpses; but that was impossible.^[12]

In 1072 the Seljuks sold Ani to the Shaddadids, a Muslim Kurdish dynasty. The Shaddadids generally pursued a conciliatory policy towards the city’s overwhelmingly Armenian and Christian population and actually married several members of the Bagratid nobility. Whenever the Shaddadid governance became too intolerant, the population would appeal to the Christian kingdom of Georgia for help. The Georgians captured Ani in 1124, 1161 and 1174, each time eventually returning it to the Shaddadids.

In the year 1199 the forces of the Georgian queen Tamar captured Ani and dislodged the Shaddadids, the governorship of the city was given to Armenian generals Zakare and Ivane Zakarids.^[13] At Ani, this new dynasty is generally known as the Zakarids, after its founder Zakare, and they considered themselves to be the successors to the Bagratids. Prosperity quickly returned to Ani; its defences were strengthened and many new churches were constructed. Zakare was succeeded by his son Shahanshah.

The Mongols unsuccessfully besieged Ani in 1226, but in 1236 they captured and sacked the city, massacring large numbers of its population. Ani had fallen when Shahanshah was absent. On his return the Zakarids continued to rule Ani, only now as vassals of the Mongols rather than the Georgians. Ani started its gradual but terminal decline during the Mongol period. By the 14th century the city was ruled by a succession of local Turkish dynasties, including the Jalayrids and the Kara Koyunlu (Black Sheep clan) who made Ani their capital. Tamerlane captured Ani in the 1380s. On his death the Kara Koyunlu regained control but transferred their capital to Yerevan. In 1441 the Armenian Catholicosate did the same. The Persian Safavids then ruled Ani until it became part of the Turkish Ottoman Empire in 1579. A small town remained within its walls at least until the middle 17th century, but the site was entirely abandoned by the middle of the 18th century. The depopulation of Ani was paralleled by the depopulation of its rural hinterland as a result of political unrest in the border region during the Ottoman-Iranian wars and a fragmentation of central control by either of the empires.

Modern times[link]

In 1905–06, archaeological excavations of the church of Saint Gregory of King Gagik were undertaken, headed by Nikolai Marr.

In the first half of the 19th century, European travelers discovered Ani for the outside world, publishing their descriptions in academic journals and travel accounts. In 1878 the Kars region, including Ani, was incorporated into the territory of the Russian Empire. In 1892 the first archaeological excavations were conducted at Ani, sponsored by the St. Petersburg Academy of Sciences and supervised by the Russian archaeologist and orientalist Nikolai Marr (1864–1934). Marr's excavations at Ani resumed in 1904 and continued yearly until 1917. Large sectors of the city were professionally excavated, numerous buildings were uncovered and measured, the finds were studied and published in academic journals, guidebooks for the monuments and the museum were written, and the whole site was surveyed for the first time.^[14] Emergency repairs were also undertaken on those buildings that were most at risk of collapse. A museum was established to house the tens of thousands of items found during the excavations. This museum was housed in two buildings: the Minuchihr mosque, and a purpose-built stone building.^[15] Armenians from neighboring villages and towns also began to visit the city on a regular basis,^[16] and there was even talk by Marr's team of building a school for educating the local Armenian children, building parks, and planting trees to beautify the site.^[17]

In 1918, during the latter stages of World War I, the armies of the Ottoman Empire were fighting their way across the territory of the newly declared Republic of Armenia, capturing Kars in April 1918. At Ani, attempts were made to evacuate the artifacts contained in the museum as Turkish soldiers were approaching the site. About 6000 of the most portable items were removed by archaeologist Ashkharbek Kalantar, a participant of Marr's excavation campaigns. At the behest of Joseph Orbeli, the saved items were consolidated into a museum collection; they are currently part of the collection of Yerevan's State Museum of Armenian History.^[18] Everything that was left behind was later looted or destroyed.^[19] Turkey's surrender at the end of World War I led to the restoration of Ani to Armenian control, but a resumed offensive against the Armenian Republic in 1920 resulted in Turkey's recapture of Ani. In 1921 the signing of the Treaty of Kars formalised the incorporation of the territory containing Ani into the Republic of Turkey.

An 1885 engraving of Ani.

In May 1921 the Turkish National Assembly issued a command to the commander of the Eastern Front, Kazım Karabekir, ordering that the "monuments of Ani be wiped off the face of the earth".^[20] Karabekir records in his memoirs that he replied dismissively to this command,^[21] but the wiping-out of all traces of Marr's excavations and building repairs suggests that the command was partially carried out.^[22]

Current state[link]

Panoramic view of north walls of Ani, April 2011.

According to The Economist:

Even as a ruin, Ani has been a disputed city. In 1921 when most of the site was ceded to Turkey, the Armenians were dismayed. They have since accused the Turks of neglecting the place in a spirit of chauvinism. The Turks retort that Ani's remains have been shaken by blasts from a quarry on the Armenian side of the border.^[5]

Another commentator describes:

Ani is now a ghost city, uninhabited for over three centuries and marooned inside a Turkish military zone on Turkey's border with modern Armenia. Ani's recent history has been one of continuous and always increasing destruction. Neglect, earthquakes, cultural cleansing, vandalism, quarrying, amateurish restorations and excavations – all these and more have taken a heavy toll on Ani's monuments.^[4]

In the estimation of the Landmarks Foundation (a non-profit organization established for the protection of sacred sites) this ancient city:

needs to be protected regardless of whose jurisdiction it falls under. Earthquakes in 1319, 1832, and 1988, Army Target practice and general neglect all have had devastating effects on the architecture of the city. The city of Ani is a sacred place which needs ongoing protection.^[7]

As a tourist site, Ani has been less than welcoming until recently. A traveler^[who?] gives the following account from a few years ago^{[clarification needed]}:

Due to the proximity of the border, just as in Soviet days, visitors to Ani must first obtain permission from the tourist office in Kars. The lengthy procedure which is mentioned in many guidebooks has been shortcut and there is no need anymore to pay a visit to the police and the museum in Kars. Permit and entrance ticket are now issued at the Kars tourist office. The employees request the plate number of your car or taxi and try to sell you a packaged tour that they organize. This being the good news. The bad news is that, due to tensions with Armenia, photography is again strictly forbidden. When we arrived at Ani, all cameras had to remain in the car. During the visit, after a friendly body search, we were constantly escorted by border guards to ensure that no one went too close to the border.^{[citation needed]}

Around 2004 these restrictions were relaxed and photography is now allowed.^[23]

Now, according to an author of Lonely Planet and Frommer's travel guides to Turkey:

Official permission to visit Ani is no longer needed. Just go to Ani and buy a ticket. If you don't have your own car, haggle with a taxi or minibus driver in Kars for the round-trip to Ani, perhaps sharing the cost with other travelers. If you have trouble, the Tourist Office may help. Plan to spend at least a half-day at Ani. It's not a bad idea to bring a picnic lunch and a water bottle.^[24]

Turkey's authorities now say they will do their best to conserve and develop the site and the culture ministry has listed Ani among the sites it is keenest to conserve. In the words of Mehmet Ufuk Erden, the local governor:

By restoring Ani, we'll make a contribution to humanity...We will start with one church and one mosque, and over time we will include every single monument.^[5]

In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund identified Ani as one of 12 worldwide sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and looting as primary causes ^{[25] [26]}.

The World Monuments Fund placed Ani on its 1996, 1998, and 2000 Watch Lists of 100 Most Endangered Sites. In May 2011, WMF announced it was beginning conservation work on the cathedral and Church of the Holy Redeemer in partnership with the Turkish Ministry of Culture. ^[27]

Monuments at Ani[link]

All the structures at Ani are constructed using the local volcanic basalt, a sort of tufa stone. It is easily carved and comes in a variety of vibrant colors, from creamy yellow, to rose-red, to jet black. The most important surviving monuments are as follows:

The cathedral of Ani[link]

This photo of two people inside the Cathedral of Ani demonstrates the size of the building

Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II. Work was halted after his death, and was only finished in 1001 (or in 1010 under another reading of its building inscription). The design of the cathedral was the work of Trdat, the most celebrated architect of medieval Armenia. The cathedral is a domed basilica (the dome collapsed in 1319). The interior contains several progressive features (such as the use of pointed arches and clustered piers) that give to it the appearance of Gothic architecture (a style which the Ani cathedral predates by several centuries).^[28]

Surp Stephanos Georgian Church[link]

There is no inscription giving the date of its construction, but an edict in Georgian is dated 1218. According to the Georgians had unearthed in 1161 as the city's first historic building in 1161 and 1218 between ferman, possibly 13 should be made ​​early in the century..^[29]

The church of St Gregory of Tigran Honents[link]

This church, finished in 1215, is the best-preserved monument at Ani. It was built during the rule of the Zakarids and was commissioned by the wealthy Armenian merchant Tigran Honents. Its plan is of a type called a domed hall. In front of its entrance are the ruins of a narthex and a small chapel that are from a slightly later period. The exterior of the church is spectacularly decorated. Ornate stone carvings of real and imaginary animals fill the spandrels between blind arcade that runs around all four sides of the church. The interior contains an important and unique series of frescoes cycles that depict two main themes. In the eastern third of the church is depicted the Life of Saint Gregory the Illuminator, in the middle third of the church is depicted the Life of Christ. Such extensive fresco cycles are rare features in Armenian architecture – it is believed that these ones were executed by Georgian artists, and the cycle also includes scenes from the life of St. Nino, who converted the Georgians to Christianity. In the narthex and its chapel survive fragmentary frescoes that are more Byzantine in style.^[30]

• 

  Saint Gregory, drum and dome.

• 

  Saint Gregory, western side.

• 

  Frescoes on the southern wall : the Dormition.

• 

  Frescoes.

• 

  Frescoes.

• 

  Frescoes of the northern wall : the Raising of Lazarus.

The church of the Holy Redeemer[link]

The Church of the Redeemer (Surb Prkich).

This church was completed shortly after the year 1035. It had a unique design: 19-sided externally, 8-apsed internally, with a huge central dome set upon a tall drum. It was built by Prince Ablgharib Pahlavid to house a fragment of the True Cross. The church was largely intact until 1955, when the entire eastern half collapsed during a storm.^[31]

The church of St Gregory of the Abughamrents[link]

The church of St. Gregory of the Abughamrents and the citadel in the ruins of Ani.

This small building probably dates from the late 10th century. It was built as a private chapel for the Pahlavuni family. Their mausoleum, built in 1040 and now reduced to its foundations, was constructed against the northern side of the church. The church has a centralised plan, with a dome over a drum, and the interior has six exedera.^[32]

King Gagik's church of St Gregory[link]

Also known as the Gagikashen, this church was constructed between the years 1001 and 1005 and intended to be a recreation of the celebrated cathedral of Zvartnots at Vagharshapat. Nikolai Marr uncovered the foundations of this remarkable building in 1905 and 1906. Before that, all that was visible on the site was a huge earthen mound. The designer of the church was the architect Trdat. The church is known to have collapsed a relatively short time after its construction and houses were later constructed on top of its ruins. Trdat's design closely follows that of Zvartnotz in its size and in its plan (a quatrefoil core surrounded by a circular ambulatory).^[33]

The church of the Holy Apostles[link]

The date of its construction is not known, but the earliest dated inscription on its walls is from 1031. It was founded by the Pahlavuni family and was used by the archbishops of Ani (many of whom belonged to that dynasty). It has a plan of a type called an inscribed quatrefoil with corner chambers. Only fragments remain of the church, but a narthex with spectacular stonework, built against the south side of the church, is still partially intact. It dates from the early 13th century. A number of other halls, chapels, and shrines once surrounded this church: Nikolai Marr excavated their foundations in 1909, but they are now mostly destroyed.^[34]

The mosque of Minuchir[link]

Menüçehr Mosque west view

The mosque is named after its presumed founder, Minuchihr, the first member of the Shaddadid dynasty that ruled Ani after 1072. The oldest surviving part of the mosque is its still intact minaret. It has the Arabic word Bismillah ("In the name of God") in Kufic lettering high on its northern face. The prayer hall, half of which survives, dates from a later period (the 12th or 13th century). In 1906 the mosque was partially repaired in order for it to house a public museum containing objects found during Nikolai Marr's excavations.^[35]

The citadel[link]

At the southern end of Ani is a flat-topped hill once known as Midjnaberd (the Inner Fortress). It has its own defensive walls that date back to the period when the Kamsarakan dynasty ruled Ani (7th C. AD). Nikolai Marr excavated the citadel hill in 1908 and 1909. He uncovered the extensive ruins of the palace of the Bagratid kings of Ani that occupied the highest part of the hill. Also inside the citadel are the visible ruins of three churches and several unidentified buildings. One of the churches, the "church of the palace" is the oldest surviving church in Ani, dating from the 6th or 7th century. Marr undertook emergency repairs to this church, but most of it has now collapsed – probably during an earthquake in 1966.^[36]

The city walls[link]

The walls of Ani showing a defensive tower.

A line of walls that encircled the entire city defended Ani. The most powerful defences were along the northern side of the city, the only part of the site not protected by rivers or ravines. Here the city was protected by a double line of walls, the much taller inner wall studded by numerous large and closely space semicircular towers. Contemporary chroniclers wrote that King Smbat (977–989) built these walls. Later rulers strengthened Smbat's walls by making them substantially higher and thicker, and by adding more towers. Armenian inscriptions from the 12th and 13th century show that private individuals paid for some of these newer towers. The northern walls had three gateways, known as the Lion Gate, the Kars Gate, and the Dvin Gate (also known as the Chequer-Board Gate because of a panel of red and black stone squares over its entrance).^[37]

Other monuments[link]

Fresco on the ceiling of a cave church outside Ani.

There are many other minor monuments at Ani. These include a convent known as the Virgins' chapel; a church used by Chalcedonian Armenians; the remains of a single-arched bridge over the Arpa river; the ruins of numerous oil-presses and several bath houses; the remains of a second mosque with a collapsed minaret; a palace that probably dates from the 13th century; the foundations of several other palaces and smaller residences; the recently excavated remains of several streets lined with shops; etc.

Cave Village[link]

Directly outside of Ani, there was a settlement-zone carved into the cliffs. It may have served as "urban sprawl" when Ani grew too large for its city walls. Today, goats and sheep take advantage of the caves' cool interiors. One highlight of this part of Ani is a cave church with frescos on its surviving walls and ceiling.

See also[link]

• Ani security fence
• List of Kings of Ani

Notes[link]

Further reading[link]

Wikimedia Commons has media related to: Ani

• Cowe, S. Peter (2001). Ani: World Architectural Heritage of a Medieval Armenian Capital. Sterling, Va.: Peeters. 
• (Armenian) Hakobyan, Tadevos Kh. (1980). Անիի Պատմություն, Հնագույն Ժամանակներից մինչև 1045 թ, գիրք 1 (The History of Ani, from Ancient Times Until 1045, Book I). Yerevan, Armenian SSR: Yerevan State University Press. 
• (Armenian) Hakobyan, Tadevos Kh. (1982). Անիի Պատմություն, 1045 թ. մինչև անկումն ու ամայացումը, գիրք 2 (The History of Ani, from 1045 Until its Collapse and Desolation, Book II). Yerevan, Armenian SSR: Yerevan State University Press. 
• Kevorkian, Raymond (2001). Raymond Kevorkian. ed. Ani – Capitale de l'Arménie en l'An Mil. 
• Lynch, H.F.B. (1901). Armenia, Travels and Studies. London: Longmans. ISBN 1-4021-8950-8. 
• Marr, Nicolas Yacovlevich (2001). Ani – Rêve d'Arménie. Paris: Anagramme Editions. 
• Minorsky, Vladimir (1953). Studies in Caucasian History. ISBN 0-521-05735-3. 
• Paolo, Cuneo (1984). Documents of Armenian Architecture, volume 12: Ani. 
• Kalantar, Ashkharbek (1994). Armenia from the Stone Age to the Middle Ages. 
• Sinclair, Thomas Allen (1987). Eastern Turkey, an Architectural and Archeological Survey, volume 1. 

External links[link]

• Ani travel guide from Wikitravel
• Virtual Ani – has clickable maps, extensive history and photos
• 3D Models of Ani

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Ani DiFranco
Ani DiFranco performing at the Ancienne Belgique in 2007
Background information
Birth name	Angela Marie DiFranco
Born	(1970-09-23) September 23, 1970 (age 41) Buffalo, New York
Genres	Folk rock, indie, alternative
Occupations	Singer-songwriter, musician
Instruments	Guitar, bass guitar, tenor guitar, vocals, percussion, piano
Years active	1990–present
Labels	Righteous Babe
Website	righteousbabe.com

Ani DiFranco ( /ˈɑːniː/; born Angela Maria DiFranco on September 23, 1970) is an American singer, guitarist, poet, and songwriter. She has released more than 20 albums,^[1] and is widely considered a feminist icon.^[2][3][4]

Biography[link]

DiFranco was born in Buffalo, New York,^[5] to Elizabeth and Dante DiFranco, who had met while attending MIT.^[6][7] She started playing Beatles covers at local bars and busking with her guitar teacher, Michael Meldrum,^[8] at the age of nine.

In 1989, DiFranco started her own record company, Righteous Records.^[1] Early in her career DiFranco worked with manager Dale Anderson, a writer for the Buffalo News, who started another record label called Hot Wings Records, after the two parted ways, that released similar sounding material. Her self-titled debut album was issued on the label in the winter of 1990. Later, she relocated to New York City, where she took poetry classes at The New School and toured vigorously for the next 15 years, essentially pausing briefly only to record albums.

Righteous Records was renamed Righteous Babe Records in 1994.

In 1998, DiFranco's drummer, Andy Stochansky, left the band to pursue a solo career as a singer-songwriter. Their rapport during live shows is showcased on the 1997 album Living in Clip.

In 2002 her rendition of Greg Brown's "The Poet Game" appeared on Going Driftless: An Artists' Tribute to Greg Brown.

Her father died early in the summer of 2004.^[9] In July 2005, DiFranco developed tendonitis and took a hiatus from touring. Her 2005 tour concluded with an appearance at the FloydFest World Music and Genre Crossover festival in Floyd, Virginia. She returned to touring in late April 2006, including a performance at the New Orleans Jazz & Heritage Festival on April 28 and a performance at the Calgary Folk Music Festival on July 30, 2006.

In 2005 she collaborated with fellow folk singer Dar Williams on "Comfortably Numb", a Pink Floyd cover song from Williams' album My Better Self.

DiFranco's album Reprieve was released on August 8, 2006. It was previously leaked on iTunes for several hours around July 1, 2006, due to an error saying it was released in 2002.^[10] DiFranco performed with Cyndi Lauper on "Sisters of Avalon", a track from Lauper's 2005 collection The Body Acoustic.

On September 11, 2007, she released the first retrospective of her career, titled Canon and for the first time, a collection of poetry in a book titled Verses.

Red Letter Year was released on September 30, 2008. Says DiFranco about the album:

"When I listen to my new record, I hear a very relaxed me, which I think has been absent in a lot of my recorded canon. Now I feel like I’m in a really good place. My partner Mike Napolitano co-produced this record – my guitar and voice have never sounded better, and that’s because of him. I’ve got this great band and crew. And my baby, she teaches me how to just be in my skin, to do less and be more."^[11]

DiFranco performed a live webcast from Ex'pression College for Digital Arts^[12] on June 24, 2010. She debuted a selection of new material, including the songs "Which Side Are You On?" (a reworking of the Florence Reece song with different lyrics penned by DiFranco), "Life Boat", "Unworry", "Promiscuity", "Splinter", "Amendment", "See See..." and "Hearse".

In 2010, DiFranco sued hip-hop horrorcore artist Necro for sampling her song, "Used to You" in a response track called "The Asshole Anthem" on his DIE! album. Due to the lawsuit, the album was reissued without the track.^[13]

She has continued touring through 2011. As of 2008 her backing band consists of Todd Sickafoose on upright bass, Allison Miller on drums, and Mike Dillon on percussion and vibes. DiFranco returned to the Calgary Folk Music Festival in July 2008.

She is also a poet and has been featured on Def Jam's poetry hour.

DiFranco released an album of new material on January 17, 2012, titled "¿Which Side Are You On?". It includes collaborations with Pete Seeger, Ivan Neville, Cyril Neville, Skerik, Adam Levy, Righteous Babe recording artist Anaïs Mitchell, CC Adcock, and a host of New Orleans-based horn players known for their work in such outfits as Galactic, Bonerama, and Rebirth Brass Band.

She and her husband currently reside in New Orleans.^[14][15]

Ani DiFranco, RZA, and Steve Albini at
The New Yorker festival in September 2005.

Relationships[link]

DiFranco identifies herself as bisexual,^[16][17] and has written songs about love and sex with women and men. She addressed the controversy about her sexuality with the song "In or Out". In 1998, she married sound engineer Andrew Gilchrist in a Unitarian Universalist service in Canada, overseen by folk singer Utah Phillips.^{[citation needed]} DiFranco and Gilchrist divorced five years later.

DiFranco gave birth to a daughter, Petah Lucia DiFranco Napolitano,^[18] at her Buffalo home on January 20, 2007. She married the child's father Mike Napolitano,^[19] also her regular producer, in 2009.

Critical reception[link]

DiFranco has been a critical darling for much of her career, if not always a commercial one, with a career album average of 72 on Metacritic.^[20] DiFranco has been toasted by the Buffalo News as the "Buffalo's leading lady of rock music." The News further said:

"Through the Righteous Babe Foundation, DiFranco has backed various grassroots cultural and political organizations, supporting causes ranging from abortion rights to gay visibility."^[21]

Starting in 2003, DiFranco was nominated four consecutive times for Best Recording Package at the Grammy Awards, winning in 2004, for Evolve.

On July 21, 2006, DiFranco received the "Woman of Courage Award"^[22] at the National Organization for Women (NOW) Conference and Young Feminist Summit in Albany, New York. Past winners have included singer and actress Barbra Streisand and Sen. Barbara Boxer, D-Calif. DiFranco is one of the first musicians to receive the award, given each year to a woman who has set herself apart by her contributions to the feminist movement.

Music[link]

Guitar style and collaborations[link]

DiFranco's guitar playing is often characterized by a signature staccato style,^[23][24] rapid fingerpicking and many alternate tunings. She delivers many of her lines in a speaking style notable for its rhythmic variation. Her lyrics, which often include alliteration, metaphor, word play and a more or less gentle irony, have also received praise for their sophistication.

Although DiFranco's music has been classified as both folk rock and alternative rock, she has reached across genres since her earliest albums. DiFranco has collaborated with a wide range of artists including musician Prince, who recorded two songs with DiFranco in 1999 ("Providence" on her To the Teeth album, and "I Love U, but I Don't Trust U Anymore" on Prince's Rave Un2 the Joy Fantastic album); folk musician and social activist Utah Phillips (on The Past Didn't Go Anywhere in 1996 and Fellow Workers in 1999); funk and soul jazz musician Maceo Parker; and rapper Corey Parker. She has used a variety of instruments and styles: brass instrumentation was prevalent in 1998's Little Plastic Castle; a simple walking bass in her 1997 cover of Hal David and Burt Bacharach's "Wishin' and Hopin'"; strings on the 1997 live album Living in Clip and 2004's Knuckle Down; and electronics and synthesisers in 1999's To the Teeth and 2006's Reprieve. Samples from the track "Coming Up" were used by DJ Spooky in his album Live Without Dead Time, produced for AdBusters Magazine in 2003.

DiFranco herself noted that "folk music is not an acoustic guitar – that's not where the heart of it is. I use the word 'folk' in reference to punk music and rap music. It's an attitude, it's an awareness of one's heritage, and it's a community. It's subcorporate music that gives voice to different communities and their struggle against authority."^[25]

Lyrics, politics and religion[link]

Although much of DiFranco's material is autobiographical, it is often also strongly political. Many of her songs are concerned with contemporary social issues such as racism, sexism, sexual abuse, homophobia, reproductive rights, poverty, and war. In 2008, she donated a song to Aid Still Required's CD to assist with the restoration of the devastation done to Southeast Asia from the 2004 Tsunami. The combination of personal and political is partially responsible for DiFranco's early popularity among politically active college students, particularly those of the left wing, some of whom set up fan pages on the web to document DiFranco's career as early as 1994. DiFranco's rapid rise in popularity in the mid-1990s was fueled mostly by personal contact and word of mouth rather than mainstream media.^{[citation needed]}

DiFranco has expressed political views outside of her music. During the 2000 U.S. presidential election, she actively supported and voted for Green Party candidate Ralph Nader.^[26][27][28] She supported Dennis Kucinich in the 2004 and 2008 Democratic primaries. Kucinich appeared with her at a number of concerts across the country during both primary seasons.^[29][30] DiFranco went on to perform at the 2008 Democratic National Convention.

Early in her career, DiFranco considered herself an atheist. On the subject of religion, DiFranco has stated:

"Well, I'm not a religious person myself. I'm an atheist. I think religion serves a lot of different purposes in people's lives, and I can recognize the value of that, you know, the value of ceremony, the value of community, or even just having a forum to get together and talk about ideas, about morals – that's a cool concept. But then, of course, institutional religions are so problematic."^[31]

Since becoming a mother and releasing her Red Letter Year album in 2009, DiFranco has talked in concert about "finding religion".^{[citation needed]} At concerts she has stated that her song "The Atom" is an "alternative Christian proposal". In "The Atom" she sings ”Oh holy is the atom/ The truly intelligent design/ To which all of evolution/ Is graciously aligned.” In Reno in 2008 prior to singing "The Atom", she said "I've kind of gotten religion lately, I took a sweet religion, one I am sort of familiar with and sprayed a can of patriarchy-off and this is what I came up with."^{[citation needed]}

Label independence[link]

DiFranco was one of the first independent artists to own her own label, which has allowed her a considerable degree of creative freedom over the years, including, for example, providing all instrumentals and vocals and recording the album herself at her home on an analog 8-track reel to reel, and handling much of the artwork and packaging design for her 2004 album Educated Guess.^[32] She has referenced this independence from major labels in song more than once, including "The Million You Never Made" (Not A Pretty Girl), which discusses the act of turning down a lucrative contract, "The Next Big Thing" (Not So Soft), which describes an imagined meeting with a label head-hunter who evaluates the singer based on her looks, and "Napoleon" (Dilate), which sympathizes sarcastically with an unnamed friend who did sign with a label.

DiFranco has occasionally joined with Prince in discussing publicly the problems associated with major record companies. Righteous Babe Records employs a number of people in her hometown of Buffalo. In a 1997 open letter to Ms. magazine^[33] she expressed displeasure that what she considers a way to ensure her own artistic freedom was seen by others solely in terms of its financial success.

[edit] Discography

Studio albums[link]

	"Napoleon" noicon from Dilate
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• 1990 – Ani DiFranco
• 1991 – Not So Soft
• 1992 – Imperfectly
• 1993 – Puddle Dive
• 1994 – Out of Range
• 1995 – Not a Pretty Girl
• 1996 – Dilate
• 1998 – Little Plastic Castle
• 1999 – Up Up Up Up Up Up
• 1999 – To the Teeth
• 2001 – Revelling/Reckoning
• 2003 – Evolve
• 2004 – Educated Guess
• 2005 – Knuckle Down
• 2006 – Reprieve
• 2008 – Red Letter Year
• 2012 - ¿Which Side Are You On?

Compilations[link]

• 1993 – Like I Said: Songs 1990–91^[34]
• 2007 – Canon

Live albums[link]

• 1994 – An Acoustic Evening With
• 1994 – Women in (E)motion (German Import)
• 1997 – Living in Clip
• 2002 – So Much Shouting, So Much Laughter
• 2004 – Atlanta – 10.9.03 (Official Bootleg series)
• 2004 – Sacramento – 10.25.03 (Official Bootleg series)
• 2004 – Portland – 4.7.04 (Official Bootleg series)
• 2005 – Boston – 11.16.03 (Official Bootleg series)
• 2005 – Chicago – 1.17.04 (Official Bootleg series)
• 2005 – Madison – 1.25.04 (Official Bootleg series)
• 2005 – Rome – 11.15.04 (Official Bootleg series)
• 2006 – Carnegie Hall – 4.6.02 (Official Bootleg series – available in stores)
• 2007 – Boston – 11.10.06 (Official Bootleg series)
• 2008 – Hamburg – 10.18.07 (Official Bootleg series)
• 2009 – Saratoga, CA – 9.18.06 (Official Bootleg series)
• 2009 – Chicago – 9.22.07 (Official Bootleg series)
• 2010 – Live at Bull Moose Music (Limited edition)^[35]

EPs[link]

• 1996 – More Joy, Less Shame
• 1999 – Little Plastic Remixes (limited distribution)
• 2000 – Swing Set

Demos[link]

• 1989 – Demo tape (unreleased)

Videos[link]

• 2002 – Render: Spanning Time with Ani DiFranco
• 2004 – Trust
• 2008 – Live at Babeville

Poetry[link]

• 2004 – "Self-evident: poesie e disegni"
• 2007 – Verses

Other contributions[link]

• 2004 – WFUV: City Folk Live VII – "Bliss Like This"
• 2006 – Jason Karaban – "Doomed to Make Choices"
• 2008 – The City That Care Forgot – Contributed backing vocals to the title track of Dr. John's 2008 album.
• 2009 – Jason Karaban – "Sobriety Kills"
• 2010 – Anais Mitchell – "Hadestown"
• 2011 – Twilight Singers – "Blackbird and the Fox"
• 2011 – Every Mother Counts – "Present/Infant" (Remix)

See also[link]

• Righteous Babe Records
• Category:Righteous Babe artists

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Ani DiFranco

Wikimedia Commons has media related to: Ani DiFranco

• The Righteous Babe homepage
• Ani DiFranco at the Internet Movie Database
• Ani DiFranco discography at MusicBrainz
• Ani DiFranco at Rolling Stone
• Works by or about Ani DiFranco in libraries (WorldCat catalog)