Universal Music Publishing Group (UMPG) announced the promotion of Ethiopia Habtemariam to Senior Vice President/Head of Urban Music. Habtemariam was previously Vice President of Urban Music.
Based in New York, Habtemariam is responsible for finding and developing songwriters, artists, and producers for the urban music department of Universal Music Publishing Group, and has signed some of music's biggest superstars, including; multi-platinum recording artist and songwriter Chris Brown, breakthrough artist and songwriter Keri Hilson, gold recording artist and songwriter Ciara, BMI Songwriter of the Year and Producer of the Year Polow Da Don, Andre Merrit, Candice Nelson, Balewa Muhammad, Ezekiel Lewis (The Clutch), Rock City, and Brian Kennedy to name a few.
In addition to talent acquisition, Habtemariam works to create new opportunities for the company's current roster of writers to exploit catalog, and serve as a liaison between the writers, record companies and the publishing group in order to place songs and writers on upcoming artist projects, soundtracks, and compilations.
In making the announcement Tom Sturges, Head of Creative Affairs, Universal Music Publishing Group stated: "Ethiopia has proven herself to be one of the most remarkable executives I have ever worked with. She has a great and proven ear for talent, the eyes to spot an amazing opportunity to do business, and the force of personality that allows her to establish unending relationships throughout the industry. This promotion is well-deserved and another great step in Ethiopia's career.
In her new role, Habtemariam will oversee one of the hottest urban rosters in music—from multi-platinum and GRAMMY® award winning acts like Mary J. Blige, Polow, 50 Cent, Eminem, Jeremih, Amerie, Ashanti, Jill Scott, Prince, Nicole Sherzinger, Ice Cube, Raphael Saadiq, Swizz Beatz, DMX, Asher Roth, Beastie Boys, R.Kelly, Babyface, Keyshia Cole, and many more. Universal Music Publishing Group was recently named Publisher of the Year at the BMI Urban Music Awards, as well as publishing the Songwriter of the Year (T-Pain) and Producer of the Year (Polow). UMPG also has a publishing interest in the Song of the Year, Jordin Sparks' "No Air."
Habtemariam joined the company in 2003.
Friday, February 26, 2010
Friday, February 19, 2010
A Glance at Ethiopian Women in Cinema
When I asked pioneer Ethiopian filmmaker Salem Mekuria in 1997 about the presence of Ethiopian women in cinema she stated that while there were those who worked for the government, she was the only independent filmmaker—enthusiastically embracing the emerging group of women that have now come of age. At the present, Ethiopian women in cinema are imposing themselves both in Ethiopia and the Diaspora, as the extra-Ethiopia territories, notably the United States, have been the locations from which the first group has developed. It is not surprising that the United States counts a significant number of Ethiopian women as it has the largest population of Ethiopians outside of Africa.
Salem Mekuria, based in Massachusetts was trained in documentary filmmaking in the 1980s at NOVA, WGBH-TV, a Boston-based PBS (Public Broadcasting Service) science-focused public television program. In the 1990s Lucy Gebre-Egziabher and Aida Muluneh studied film at Howard University in Washington, DC where their compatriot, internationally acclaimed Haile Gerima is film professor—both completed their studies in the early 2000s. While Aida Muluneh chose image studies early as an undergraduate student, Lucy Gebre-Egziabher returned to school to study film while working as a senior program officer in international education, realizing a dream she had since childhood. During that same period, Aida Ashenafi completed film studies at Ithaca College in New York State in 1999. Like Salem Mekuria, U.S.-born African-American-Ethiopian Nnegest Likké got her training inside the industry, initially with a public access community television station in Los Angeles, California. On the continent, Yetnayet Bahru Gessesse represents a promising trend of Ethiopian-trained filmmakers.
Salem Mekuria honed her filmmaking skills while working on themes related to the African American community of Massachusetts, the region where she lives and works. She later focused her camera on Africa in the two acclaimed works for which she is most known. She dealt with social and political issues relating to women refugees in the film, Sidet: Forced Exile (1991), and the multilayered issues of revolution, lost, and betrayal in the film, Ye Wonz Maibel: Deluge (1997). From the very beginning of her film projects, Lucy Gebre-Egziabher directed her gaze towards issues relating to the Ethiopian Diaspora in the Washington DC area. Her last film, At the Second Traffic Light (2000) has a multi-ethnic, multi-cultural and inter-religious focus with the intentions of highlighting the importance of tolerance. At the same time a filmmaker, Aida Muleneh is best known for her photographic work, notably in the 2003 seminal exhibition Ethiopian Passages: Dialogues in the Diaspora at the National Museum of African Art at the Smithsonian in Washington DC. Her film work in progress, Unhealing Wound, traces the experiences of Ethiopian war orphans raised and schooled in Cuba beginning in 1978, during the government of Mengistu Hailemariam. Aida Ashenafi, after studying, living, and working in the United States, returned to Ethiopia where she co-founded a communications company. Her award winning film Guzow (2009) is a documentary set in rural Ethiopia.
While Maji-da Abdi has also directed documentary films, notably The River Between Us (2001), her most visible work has been as producer and film professional in many African film-related initiatives. She currently manages the Paris-based production company Chinguetty Films that she created with her partner Mauritanian filmmaker Abderrahmane Sissako. Nnegest Likké represents the first-generation of U.S.-born Ethiopians, her Ethiopian father met her African-American mother while they were both students at the University of California at Berkeley in the 1960s. Perhaps her comedy film, Phat Girlz (2006) with an “African twist”, is indicative of the influences of Hollywood, rather than a more “engaged” cinema evident in the works by other Ethiopian women. Although Yetnayet Bahru Gessesse may be setting a similar trend in Ethiopia.
One of the objectives of the First Ethiopian Film Initiative Meeting held in Addis Ababa in 2008 was to tackle the important issue of film training, as there is a lack of viable film schools in the country. Yetnayet Bahru Gessesse addressed this problem at the meeting in her presentation, “A Young Filmmaker’s Personal Experience”. Though she completed her studies in computer science, her passion for cinema gave her the motivation to navigate the Ethiopian cinematic terrain through trial and error, as a professional cinema infrastructure does not exist. After her successful debut film Aldewolem (2008), a romantic comedy, she participated in a filmmaking workshop in Burkina Faso in 2009, at the Imagine Film Training Institute founded by Gaston Kaboré.
The active presence of women in the emerging Ethiopian cinema is evident in their visible participation at the Ethiopian Film Initiative Meeting and the active and supportive reception of their films, both in Ethiopia and the Ethiopian Diaspora. Their numbers are increasing as well as the resources for making films. Of course the Ethiopian Diaspora will continue to play a vital role in these initiatives. In fact, the connecting forces of the two have strengthened both, as there is a concerted effort to build and work together, drawing from the positive energies that each has to offer.
Salem Mekuria, based in Massachusetts was trained in documentary filmmaking in the 1980s at NOVA, WGBH-TV, a Boston-based PBS (Public Broadcasting Service) science-focused public television program. In the 1990s Lucy Gebre-Egziabher and Aida Muluneh studied film at Howard University in Washington, DC where their compatriot, internationally acclaimed Haile Gerima is film professor—both completed their studies in the early 2000s. While Aida Muluneh chose image studies early as an undergraduate student, Lucy Gebre-Egziabher returned to school to study film while working as a senior program officer in international education, realizing a dream she had since childhood. During that same period, Aida Ashenafi completed film studies at Ithaca College in New York State in 1999. Like Salem Mekuria, U.S.-born African-American-Ethiopian Nnegest Likké got her training inside the industry, initially with a public access community television station in Los Angeles, California. On the continent, Yetnayet Bahru Gessesse represents a promising trend of Ethiopian-trained filmmakers.
Salem Mekuria honed her filmmaking skills while working on themes related to the African American community of Massachusetts, the region where she lives and works. She later focused her camera on Africa in the two acclaimed works for which she is most known. She dealt with social and political issues relating to women refugees in the film, Sidet: Forced Exile (1991), and the multilayered issues of revolution, lost, and betrayal in the film, Ye Wonz Maibel: Deluge (1997). From the very beginning of her film projects, Lucy Gebre-Egziabher directed her gaze towards issues relating to the Ethiopian Diaspora in the Washington DC area. Her last film, At the Second Traffic Light (2000) has a multi-ethnic, multi-cultural and inter-religious focus with the intentions of highlighting the importance of tolerance. At the same time a filmmaker, Aida Muleneh is best known for her photographic work, notably in the 2003 seminal exhibition Ethiopian Passages: Dialogues in the Diaspora at the National Museum of African Art at the Smithsonian in Washington DC. Her film work in progress, Unhealing Wound, traces the experiences of Ethiopian war orphans raised and schooled in Cuba beginning in 1978, during the government of Mengistu Hailemariam. Aida Ashenafi, after studying, living, and working in the United States, returned to Ethiopia where she co-founded a communications company. Her award winning film Guzow (2009) is a documentary set in rural Ethiopia.
While Maji-da Abdi has also directed documentary films, notably The River Between Us (2001), her most visible work has been as producer and film professional in many African film-related initiatives. She currently manages the Paris-based production company Chinguetty Films that she created with her partner Mauritanian filmmaker Abderrahmane Sissako. Nnegest Likké represents the first-generation of U.S.-born Ethiopians, her Ethiopian father met her African-American mother while they were both students at the University of California at Berkeley in the 1960s. Perhaps her comedy film, Phat Girlz (2006) with an “African twist”, is indicative of the influences of Hollywood, rather than a more “engaged” cinema evident in the works by other Ethiopian women. Although Yetnayet Bahru Gessesse may be setting a similar trend in Ethiopia.
One of the objectives of the First Ethiopian Film Initiative Meeting held in Addis Ababa in 2008 was to tackle the important issue of film training, as there is a lack of viable film schools in the country. Yetnayet Bahru Gessesse addressed this problem at the meeting in her presentation, “A Young Filmmaker’s Personal Experience”. Though she completed her studies in computer science, her passion for cinema gave her the motivation to navigate the Ethiopian cinematic terrain through trial and error, as a professional cinema infrastructure does not exist. After her successful debut film Aldewolem (2008), a romantic comedy, she participated in a filmmaking workshop in Burkina Faso in 2009, at the Imagine Film Training Institute founded by Gaston Kaboré.
The active presence of women in the emerging Ethiopian cinema is evident in their visible participation at the Ethiopian Film Initiative Meeting and the active and supportive reception of their films, both in Ethiopia and the Ethiopian Diaspora. Their numbers are increasing as well as the resources for making films. Of course the Ethiopian Diaspora will continue to play a vital role in these initiatives. In fact, the connecting forces of the two have strengthened both, as there is a concerted effort to build and work together, drawing from the positive energies that each has to offer.
Friday, February 12, 2010
Ethiopian beauty is 1st runner up in global beauties contest
Ethiopian beauty is 1st runner up in global beauties contest
WINS GB FACE OF AFRICA TITLE
Melat Yante Woldesenbet who was Ethiopia’s representative to the 2009 Miss Universe Pageant placed as 1st runner up in the Global Beauties Face of the Year competition.
She was also awarded the Global Beauties Face of Africa winner!
The fifty finalists were chosen among the world’s most prestigious pageants. Out of thousands of women who competed nationally and internationally in 2009, the competition then chose the Top 25, Top 15, Top 10, Top 5 and then the winner.
Melat was chosen by the international panel of judges in the top three from the first round of competition. She is presently in Germany preparing to compete in the Top Model of the World pageant.
She also plans on returning home to Ethiopia to compete in other national contests for an opportunity to continue competing in international pageants.
(see www.globalbeauties.com “Face of the Year” for official results and details)
Thursday, February 4, 2010
Defar's debut tops another stellar line-up in Stuttgart - Preview
4 February 2010 – Stuttgart, Germany - It wouldn’t be a normal Sparkassen-Cup Meeting without some kind of world record attempt, and although the two protagonists from last year’s riveting women’s 3000m will again be on the track Saturday (6) night in Stuttgart, they will be running in separate events.
The Sparkassen-Cup is the third of nine IAAF Indoor Permit Meetings in 2010.
Last winter, Meseret Defar of Ethiopia and Russia’s Anna Alminova waged an unexpected battle in the race in which Defar was attempting to lower her own record of 8:23.72, set on the Hanns-Martin-Schleyer-Halle track in 2007. In that contest, Defar was on record pace after two kilometres just before Alminova moved into contention and turned the race into a tactical struggle. The Ethiopian’s final time of 8:26.99 - still the third best of all-time - was more than three seconds off the world record.
This year, Alminova will instead be contesting the 1500m, in which she is the reigning European indoor champion. But that doesn’t mean Defar will only be running against the clock in the 3000. Kenya’s Silvia Kibet, the Berlin silver medallist in the 5000m from last summer, has slipped in as a late entry and could derail Defar’s plans again as did the Russian last year. On the other hand, strong runs from both could produce the Sparkassen sparks for which this fixture is noted, with its history of seven world records in middle- and long-distance events. Stay tuned.
Among those accompanying Defar and Kibet in their fifteen laps will be European 5000 finalist Sabrina Mockenhaupt of Germany and a former European indoor bronze medallist, Silvia Weissteiner of Italy.
The Women’s 3000m is just one of the highly anticipated moments in this 24th edition of the Sparkassen-Cup, an event which continues to enjoy the longest continued single sponsorship of any indoor athletics event in the world.
Alminova, in moving to the 1500m, will find herself stacked up against the top finisher from Berlin last summer, Maryam Jamal of Bahrain, plus the reigning World indoor champ in the event, Geleta Burka of Ethiopia.
Jones-Ferrette bringing strong momentum
For fast indoor female sprinting during this indoor season, one only needs to think “Jones”. Laverne Jones-Ferrette of the US Virgin Islands brings her world-leading 7.09 (from Karlsruhe last Sunday and Dusseldorf on Wednesday) to the women’s 60m, where she will tangle with Carmelita Jeter of the US, the Berlin bronze winner and, after a stunning 10.64 to end the season last September, the second-fastest 100m competitor of all-time. The reigning World indoor champion, Angela Williams of the US, plus a former World indoor champion, Bahamian Chandra Sturrup, add further lustre to the field.
The other part of the “Jones” stamp on sprinting is carried by hurdler Lolo Jones of the US, who also departed from Karlsruhe with a 7.90 world-leading performance in the women’s 60m Hurdles, a mark she lowered in Dusseldorf to 7.85. Beijing bronze and Berlin silver winner Priscilla Lopes-Schliep of Canada, plus Jamaica’s Lacina Golding-Clarke - a finalist at the last five World Indoor Championships - are both in the field, as are three-time outdoor World Championships finalist Vonette Dixon of Jamaica, Valencia bronze medallist Anay Tejeda of Cuba, and Germany’s top exponent of hurdling, Carolin Nytra.
Robles vs Oliver and Svoboda
Current Olympic gold and bronze winners, Cuba’s Dayron Robles and David Oliver of the US, lead the list in the men’s 60m Hurdles. Robles will arrive after a solid 7.50 debut in Dusseldorf. Lining up with them will be European indoor bronze medallist Petr Svoboda of the Czech Republic, Berlin finalist Dwight Thomas of Jamaica, and Athens fourth placer Maurice Wignall, also of Jamaica.
Although nearing the end of his 39th year, American Allen Johnson is showing no apparent signs of retirement. The seven-time World champion (indoors and outdoors) ran an excellent early-season 7.58 last weekend and is a late addition to the hurdle field.
The Men’s 60m features three sprinters from the West Indies who have dipped under the ten-second barrier in outdoor competition.
Jamaicans Lerone Clark and Helsinki world championships silver medallist Michael Frater will joust with double Beijing sprint finalist Churandy Martina of Netherlands Antilles.
Former European indoor silver winner Craig Pickering of Great Britain will also challenge, as will last year’s surprise Sparkassen winner Christian Blum of Germany. The home-country sprinter posted his current PB of 6.56 in a go-for-broke lean at the finish which left him flat on the floor and with injuries necessitating an abrupt end to a short but promising indoor season last year.
French invasion into German Pole Vault territory?
There are few countries which can rival Germany in the depth of pole vaulting, both on the men’s and women’s sides, a fact which obliges a German meeting organizer to include both in the timetable. Ironically, the two male competitors most highly decorated from last season hail from neighouring France, as Romain Mesnil and Renaud Lavillenie, the Berlin silver and bronze winners, respectively, lead an impressive list.
The host nation adds a substantial cachet with the last two European indoor bronze medalists, Alexander Straub and Björn Otto, plus former European indoor champions Tim Lobinger and Danny Ecker, as well as Beijing finalist Raphael Holzdeppe.
The women’s event features the surprise World champion from Berlin, Poland’s Anna Rogowska, in her season opener. Two medallists from the last European indoor championships - Germans Silke Spiegelburg and Anna Battke - will see action, as will Valencia bronze winner Fabiana Murer of Brazil and Beijing finalist Caroline Hingst of Germany.
Though not projected as a world record attempt, the Men’s 3000m still has a formidable cast, led by reigning World indoor champion Tariku Beleke of Ethiopia, and his countryman, the bronze winner in Valencia, Abreham Cherkos. Beijing 5000m bronze medallist Edwin Soi of Kenya, who finished fourth in Valencia, will see an indoor track for the first time this year. His countryman, Sammy Mutahi, will see an indoor track for the first time in his life!
Mekkonen and Kaki headline middle distance fields
Deresse Mekkonen of Ethiopia returns to defend his Sparkassen title in the men’s 1500m, accompanied by Valencia bronze winner Juan Carlos Higuero of Spain, European indoor bronze medallist Yoann Kowal of France, and his compatriot, Berlin steeplechase bronze winner Bouabdellah Tahri. There will be two further runners of note to watch - William Biwott of Kenya, who set a World junior record in the mile last year in Oslo, and World youth finalist, 17-year-old Mohamad Al-Garni of Qatar – who both made their indoor debuts in Dusseldorf.
World indoor 800m champion Abubaker Kaki heads the list in that event, along with Berlin finalist Jackson Kivuna of Kenya and new Czech indoor national record holder Jakub Holuša.
The Men’s Long Jump features two-time World outdoor champion Dwight Phillips of the US, who will make his season debut in that event after sprint outings in Karlsruhe and Dusseldorf. Among those Phillips will contend with are the former World indoor bronze winner Salim Sdiri of France, and Osaka finalist Christian Reif of Germany.
Ed Gordon for the IAAF
The Sparkassen-Cup is the third of nine IAAF Indoor Permit Meetings in 2010.
Last winter, Meseret Defar of Ethiopia and Russia’s Anna Alminova waged an unexpected battle in the race in which Defar was attempting to lower her own record of 8:23.72, set on the Hanns-Martin-Schleyer-Halle track in 2007. In that contest, Defar was on record pace after two kilometres just before Alminova moved into contention and turned the race into a tactical struggle. The Ethiopian’s final time of 8:26.99 - still the third best of all-time - was more than three seconds off the world record.
This year, Alminova will instead be contesting the 1500m, in which she is the reigning European indoor champion. But that doesn’t mean Defar will only be running against the clock in the 3000. Kenya’s Silvia Kibet, the Berlin silver medallist in the 5000m from last summer, has slipped in as a late entry and could derail Defar’s plans again as did the Russian last year. On the other hand, strong runs from both could produce the Sparkassen sparks for which this fixture is noted, with its history of seven world records in middle- and long-distance events. Stay tuned.
Among those accompanying Defar and Kibet in their fifteen laps will be European 5000 finalist Sabrina Mockenhaupt of Germany and a former European indoor bronze medallist, Silvia Weissteiner of Italy.
The Women’s 3000m is just one of the highly anticipated moments in this 24th edition of the Sparkassen-Cup, an event which continues to enjoy the longest continued single sponsorship of any indoor athletics event in the world.
Alminova, in moving to the 1500m, will find herself stacked up against the top finisher from Berlin last summer, Maryam Jamal of Bahrain, plus the reigning World indoor champ in the event, Geleta Burka of Ethiopia.
Jones-Ferrette bringing strong momentum
For fast indoor female sprinting during this indoor season, one only needs to think “Jones”. Laverne Jones-Ferrette of the US Virgin Islands brings her world-leading 7.09 (from Karlsruhe last Sunday and Dusseldorf on Wednesday) to the women’s 60m, where she will tangle with Carmelita Jeter of the US, the Berlin bronze winner and, after a stunning 10.64 to end the season last September, the second-fastest 100m competitor of all-time. The reigning World indoor champion, Angela Williams of the US, plus a former World indoor champion, Bahamian Chandra Sturrup, add further lustre to the field.
The other part of the “Jones” stamp on sprinting is carried by hurdler Lolo Jones of the US, who also departed from Karlsruhe with a 7.90 world-leading performance in the women’s 60m Hurdles, a mark she lowered in Dusseldorf to 7.85. Beijing bronze and Berlin silver winner Priscilla Lopes-Schliep of Canada, plus Jamaica’s Lacina Golding-Clarke - a finalist at the last five World Indoor Championships - are both in the field, as are three-time outdoor World Championships finalist Vonette Dixon of Jamaica, Valencia bronze medallist Anay Tejeda of Cuba, and Germany’s top exponent of hurdling, Carolin Nytra.
Robles vs Oliver and Svoboda
Current Olympic gold and bronze winners, Cuba’s Dayron Robles and David Oliver of the US, lead the list in the men’s 60m Hurdles. Robles will arrive after a solid 7.50 debut in Dusseldorf. Lining up with them will be European indoor bronze medallist Petr Svoboda of the Czech Republic, Berlin finalist Dwight Thomas of Jamaica, and Athens fourth placer Maurice Wignall, also of Jamaica.
Although nearing the end of his 39th year, American Allen Johnson is showing no apparent signs of retirement. The seven-time World champion (indoors and outdoors) ran an excellent early-season 7.58 last weekend and is a late addition to the hurdle field.
The Men’s 60m features three sprinters from the West Indies who have dipped under the ten-second barrier in outdoor competition.
Jamaicans Lerone Clark and Helsinki world championships silver medallist Michael Frater will joust with double Beijing sprint finalist Churandy Martina of Netherlands Antilles.
Former European indoor silver winner Craig Pickering of Great Britain will also challenge, as will last year’s surprise Sparkassen winner Christian Blum of Germany. The home-country sprinter posted his current PB of 6.56 in a go-for-broke lean at the finish which left him flat on the floor and with injuries necessitating an abrupt end to a short but promising indoor season last year.
French invasion into German Pole Vault territory?
There are few countries which can rival Germany in the depth of pole vaulting, both on the men’s and women’s sides, a fact which obliges a German meeting organizer to include both in the timetable. Ironically, the two male competitors most highly decorated from last season hail from neighouring France, as Romain Mesnil and Renaud Lavillenie, the Berlin silver and bronze winners, respectively, lead an impressive list.
The host nation adds a substantial cachet with the last two European indoor bronze medalists, Alexander Straub and Björn Otto, plus former European indoor champions Tim Lobinger and Danny Ecker, as well as Beijing finalist Raphael Holzdeppe.
The women’s event features the surprise World champion from Berlin, Poland’s Anna Rogowska, in her season opener. Two medallists from the last European indoor championships - Germans Silke Spiegelburg and Anna Battke - will see action, as will Valencia bronze winner Fabiana Murer of Brazil and Beijing finalist Caroline Hingst of Germany.
Though not projected as a world record attempt, the Men’s 3000m still has a formidable cast, led by reigning World indoor champion Tariku Beleke of Ethiopia, and his countryman, the bronze winner in Valencia, Abreham Cherkos. Beijing 5000m bronze medallist Edwin Soi of Kenya, who finished fourth in Valencia, will see an indoor track for the first time this year. His countryman, Sammy Mutahi, will see an indoor track for the first time in his life!
Mekkonen and Kaki headline middle distance fields
Deresse Mekkonen of Ethiopia returns to defend his Sparkassen title in the men’s 1500m, accompanied by Valencia bronze winner Juan Carlos Higuero of Spain, European indoor bronze medallist Yoann Kowal of France, and his compatriot, Berlin steeplechase bronze winner Bouabdellah Tahri. There will be two further runners of note to watch - William Biwott of Kenya, who set a World junior record in the mile last year in Oslo, and World youth finalist, 17-year-old Mohamad Al-Garni of Qatar – who both made their indoor debuts in Dusseldorf.
World indoor 800m champion Abubaker Kaki heads the list in that event, along with Berlin finalist Jackson Kivuna of Kenya and new Czech indoor national record holder Jakub Holuša.
The Men’s Long Jump features two-time World outdoor champion Dwight Phillips of the US, who will make his season debut in that event after sprint outings in Karlsruhe and Dusseldorf. Among those Phillips will contend with are the former World indoor bronze winner Salim Sdiri of France, and Osaka finalist Christian Reif of Germany.
Ed Gordon for the IAAF
Proud Teddy at the Proud Bird in L.A.
It is really great to be young; but for those who are not, the next best thing is to be at a Teddy Afro concert and jam late into the night with a ballroom full of irrepressible and euphoric young Ethiopian Angelinos. On February 13, Proud Teddy brought his triumphant “Love Conquers All” world tour to the Proud Bird, a well-known LA institution for one-half century themed around vintage WW II war birds. Teddy was in top form belting out one hit after another as he almost levitated on stage. His Abugida Band and backup singers bellowed flaming rhythms and roots-style music combining traditional Ethiopian melodies with reggae beats. Teddy was on fire at the Proud Bird, as was his enraptured audience. I have listened to Teddy Afro on CD and viewed his Youtube videos countless times. His voice, his message and powerful lyrics and his melodies have moved me, rocked me, soothed me and lifted me when I was down. But there is nothing that compares to watching this young musical genius live. The difference between watching Teddy live and listening to him on CD/Youtube is the difference between listening to gospel music on the radio and singing it in the choir with the preacher directing. The Proud Bird concert was a quasi-spiritual experience, almost like being at an old time southern Baptist revival. His audience was not only passionately and emotionally involved with the lyrics and melodies in his music, they were spiritually bonded to him with some invisible gravitational force. There was not a single person at the concert who was not movin’, swingin’, rockin’ and rollin’ and groovin’.
For those us who had never seen Teddy perform live and witnessed the standing-room only crowd go into semi-conscious trance, it was a walk down memory lane. I recall seeing such deep spiritual connection between an artist and his audience decades ago when Bob Marley came to my alma mater, the University of Minnesota, on May 30, 1978 (Kaya Tour) and November 15, 1979 (Survival Tour). Those fortunate enough to have present at a Bob Marley concert know exactly what I mean.
As the show began, for nearly a minute we could only hear Teddy singing from backstage using a remote microphone. It was an electrifying moment of anticipation. As Teddy burst on stage wearing a T-shirt emblazoned with Marley’s image, the audience went into total frenzy. I could not help but feel the palpable spiritual presence of Bob Marley on stage that night. Teddy was unbound; he sang and danced and pranced, leaped and twirled and fluttered on stage as streams of sweat flooded down his face. The jam-packed audience cheered, clapped, screamed, shrieked, shouted and hopped; and a sea of upward stretched hands swung side to side in the cavernous hall.
Having seen Teddy live, it is plain that he does not sing just to sing. I really believe the man sings for one reason only: He is hopelessly in love with Ethiopia. How is it possible for anyone to sing for over two hours and manage to include in every song something about Ethiopia, its people, its cities and towns, rivers, mountains and valleys, religions, history, geography, politics and on and on? He sang nearly all of his classic hits, but he ignited the audience on a five-alarm fire when he sang about Africa’s “father” H.I.M. Haile Selassie and Yastesereal. “How is it that thousands of young people who were not even born at the time the Emperor was murdered by the Derg military junta have such connection to him”, I wondered. What is it about the song “Yasteseryal” that drives Ethiopians into near-convulsive ecstasy when they hear it?
To say that there is something extraordinary about Teddy as an artist is to state the obvious. But perhaps what is less obvious is the fact of how Teddy has inherited the mantle from the Bob Marley and adapted it for Ethiopia. Some have indeed compared Teddy to Marley for his ability to bring a political, spiritual, and rhythmic power to his music and his raw ability to electrify his audience. Like Marley whose passion was African liberation and pan-Africanism, Teddy’s passion is the freedom, unity, reconciliation and harmony of the Ethiopian people. Like Marley, Teddy’s music is stirring, thrilling and even heart-wrenching. Like Marley, Teddy sings songs of love, peace, hope, faith, charity, justice, reconciliation, understanding and forgiveness. These are the sources of Teddy’s rhythmic power which enable him to reach deep into the Ethiopian soul and psyche and suture the festering wounds of despair, soothe the unendurable pain of oppression and prophesy the coming of a new day of love, peace and justice in Ethiopia.
To describe the “Teddy Afro musical experience” as a mere concert is to do injustice to the truth. It is really more than that. It is the closest thing to a spiritual revival meeting. Teddy just does not sing about the love he has for Ethiopia and its people, he makes you feel it in your bones. He does not just talk about bringing Ethiopians together, he brings them together in his concerts. He doesn’t just warn against hate, he teaches how love conquers hate. He is not nostalgic about the past, but he wants us all to understand it, learn from it and honor those who have made contributions despite their mistakes. Like any revival meeting, Teddy has the audacity to believe in the coming of a new day, and to prophesy Ethiopia’s redemption. Now I know why this young musical genius is loved by millions of Ethiopians, and why he is a national hero and not just an extraordinary artist.
On stage, Teddy appears to be a man of small physical frame and stature, but he is a powerhouse of endless spiritual energy and musical creativity. He not only can mesmerize his audience with the sheer power and purity of his message, he can actually be seen “curing” souls. His uses his voices to dazzle, his lyrics to seduce, his melodies to spellbind; and combines it all in an exhilarating stage showmanship that captivates, delights, enchants, charms and simply overpowers. He gives everything to his audience, and his audience give back to him all their love.
The virtuosity of the Abugida Band and the sweet chorus of the backup singers is simply spectacular. They just kept the collective ecstasy jah-ming. The event organizers are to be commended and appreciated for coordinating such a magnificent tour and for making it possible for Ethiopians in exile to see and enjoy Teddy live. Teddy will continue with his world tour. As he does so, let us be mindful that he is that strong steel bridge that spans the generation and geographic gap among Ethiopians.
In our youth thousands of miles away from our homeland, Jimi Hendrix, a great superstar from Seattle, Washington taught us, “When the power of love overcomes the love of power, the world will know peace.” Teddy has now traveled thousands of miles to America to teach our children, “When the power of love overcomes those who love power in Ethiopia, Ethiopia will know peace.” It is nice to feel young once again. Proud Teddy, thanks for a great lesson. More Love Power to you, brother, and to all of us. Thanks for a great revival meeting in L.A.!
Jah, Yasteseryal! Love Conquers All! (Fikir Yashenefal)
For those us who had never seen Teddy perform live and witnessed the standing-room only crowd go into semi-conscious trance, it was a walk down memory lane. I recall seeing such deep spiritual connection between an artist and his audience decades ago when Bob Marley came to my alma mater, the University of Minnesota, on May 30, 1978 (Kaya Tour) and November 15, 1979 (Survival Tour). Those fortunate enough to have present at a Bob Marley concert know exactly what I mean.
As the show began, for nearly a minute we could only hear Teddy singing from backstage using a remote microphone. It was an electrifying moment of anticipation. As Teddy burst on stage wearing a T-shirt emblazoned with Marley’s image, the audience went into total frenzy. I could not help but feel the palpable spiritual presence of Bob Marley on stage that night. Teddy was unbound; he sang and danced and pranced, leaped and twirled and fluttered on stage as streams of sweat flooded down his face. The jam-packed audience cheered, clapped, screamed, shrieked, shouted and hopped; and a sea of upward stretched hands swung side to side in the cavernous hall.
Having seen Teddy live, it is plain that he does not sing just to sing. I really believe the man sings for one reason only: He is hopelessly in love with Ethiopia. How is it possible for anyone to sing for over two hours and manage to include in every song something about Ethiopia, its people, its cities and towns, rivers, mountains and valleys, religions, history, geography, politics and on and on? He sang nearly all of his classic hits, but he ignited the audience on a five-alarm fire when he sang about Africa’s “father” H.I.M. Haile Selassie and Yastesereal. “How is it that thousands of young people who were not even born at the time the Emperor was murdered by the Derg military junta have such connection to him”, I wondered. What is it about the song “Yasteseryal” that drives Ethiopians into near-convulsive ecstasy when they hear it?
To say that there is something extraordinary about Teddy as an artist is to state the obvious. But perhaps what is less obvious is the fact of how Teddy has inherited the mantle from the Bob Marley and adapted it for Ethiopia. Some have indeed compared Teddy to Marley for his ability to bring a political, spiritual, and rhythmic power to his music and his raw ability to electrify his audience. Like Marley whose passion was African liberation and pan-Africanism, Teddy’s passion is the freedom, unity, reconciliation and harmony of the Ethiopian people. Like Marley, Teddy’s music is stirring, thrilling and even heart-wrenching. Like Marley, Teddy sings songs of love, peace, hope, faith, charity, justice, reconciliation, understanding and forgiveness. These are the sources of Teddy’s rhythmic power which enable him to reach deep into the Ethiopian soul and psyche and suture the festering wounds of despair, soothe the unendurable pain of oppression and prophesy the coming of a new day of love, peace and justice in Ethiopia.
To describe the “Teddy Afro musical experience” as a mere concert is to do injustice to the truth. It is really more than that. It is the closest thing to a spiritual revival meeting. Teddy just does not sing about the love he has for Ethiopia and its people, he makes you feel it in your bones. He does not just talk about bringing Ethiopians together, he brings them together in his concerts. He doesn’t just warn against hate, he teaches how love conquers hate. He is not nostalgic about the past, but he wants us all to understand it, learn from it and honor those who have made contributions despite their mistakes. Like any revival meeting, Teddy has the audacity to believe in the coming of a new day, and to prophesy Ethiopia’s redemption. Now I know why this young musical genius is loved by millions of Ethiopians, and why he is a national hero and not just an extraordinary artist.
On stage, Teddy appears to be a man of small physical frame and stature, but he is a powerhouse of endless spiritual energy and musical creativity. He not only can mesmerize his audience with the sheer power and purity of his message, he can actually be seen “curing” souls. His uses his voices to dazzle, his lyrics to seduce, his melodies to spellbind; and combines it all in an exhilarating stage showmanship that captivates, delights, enchants, charms and simply overpowers. He gives everything to his audience, and his audience give back to him all their love.
The virtuosity of the Abugida Band and the sweet chorus of the backup singers is simply spectacular. They just kept the collective ecstasy jah-ming. The event organizers are to be commended and appreciated for coordinating such a magnificent tour and for making it possible for Ethiopians in exile to see and enjoy Teddy live. Teddy will continue with his world tour. As he does so, let us be mindful that he is that strong steel bridge that spans the generation and geographic gap among Ethiopians.
In our youth thousands of miles away from our homeland, Jimi Hendrix, a great superstar from Seattle, Washington taught us, “When the power of love overcomes the love of power, the world will know peace.” Teddy has now traveled thousands of miles to America to teach our children, “When the power of love overcomes those who love power in Ethiopia, Ethiopia will know peace.” It is nice to feel young once again. Proud Teddy, thanks for a great lesson. More Love Power to you, brother, and to all of us. Thanks for a great revival meeting in L.A.!
Jah, Yasteseryal! Love Conquers All! (Fikir Yashenefal)
Tuesday, February 2, 2010
Ethiopia: Teddy Yo - All Man, No Myth
Teddy Yo, a young, vibrant rapper, has been making the local magazine headlines for sometime now. The rapper's innovation in blending the Gurage melody and beat with a contemporary hip-hop beat has been appreciated by many. His trademark music, Guragetone (including a track by that name), was a hit three years ago, and he is now out with a new album. Very soon he will be releasing more singles and later a new project.
Teddy Yo (full name Tewodros Assefa) resides with Eden, his wife of two years. He sometimes wears inconspicuous clothes when he goes out that blend into society and a baseball cap down low over his eyes. He does this just so that he can get from Point A to Point B without having a dozen conversations along the way with fans and random people who recognise him. He is the epitome of an arada or an in-the-know Addis Abeban.
But after a one hour interview in a relaxed café, he became a whole lot more. During the interview, he talked about life, happiness and even history.
People love him, and he gets the encouragement to do what he does from them, he said, but he had a bone to pick with views held by some regarding Amharic rap.
"Some people say rap is not good for our culture or that it is not part of our tradition," Teddy Yo began.
He begged to differ. There is more in common with Ethiopian tradition than some people think, he said.
For example, after kings of old, like Emperor Tewodros, gathered their troops for battle, they would basically freestyle rap to get the troops ready for war in what is known as kererto and shillella, he explained.
His voice intensified as he described the connections of rap with the doo-rag (bandana) that Emperor Menelik wore under his hat, tilted like rapper R-Kelly does today, to the cornrow hairstyle of Emperor Tewodros and the combs stuck in the afros of the Afar and Kereyu. Even Negus T'ona of the Welayita wore an earring like most rappers, he said, as his own glistened in the evening light.
"I am not saying that American rappers took everything from Ethiopia, but there is a connection and many shared traditions," he said.
Most Amharic rappers only rap about partying and having fun, but Teddy Yo raps about life. To him, life is not only about the good times, but also the bad. He raps about the parties and he raps about the problems. He does this in a way that is often humorous, even to older generations that normally do not like or listen to rap.
His track 904 is a funny but all too true story of meeting a girl in a minibus, who turns out to be a golddigger, taking all his money and leaving him broke. He has some simple but wise words for those who want to avoid such relationships.
"Be honest, tell the truth, and do not pretend to be rich," he says with a smile.
His latest album was Dimts Albaw Mesariya (Silent Weapon). It came out about three months ago.
During high school he listened to Tupac, Notorious B I G, Ice Cube, and Easy-E, all rappers in the US. He and his friends would then freestyle together. They called it 'Enka Salamta'.
Now he is preparing to release some follow-ups to the single that brought him fame, Guragetone, with two more singles entitled Oromotone and Tigray Reggae. They exhibit his unique prowess in combining US rap with Ethiopian rhythms.
His next music video project will focus on social problems and issues. He plans to work with NGOs to distribute the album for free in order to reach the people who need to hear the message the most.
Teddy Yo has big dreams for everybody, himself included. In the next five years, he sees himself with his own recording studio and production business at the top of his own building in Addis Abeba.
Production quality is very important to him including sound and video quality.
"I spend my own money to make sure my videos have good quality using current techniques and technology," he remarked. "There are some good guys here in Addis that work hard and research online everyday to keep up with all the latest video and sound engineering tips."
Though he takes pride in quality and the latest techniques, his main focus is the lyrics.
"Everyone, listen to the lyrics; listen to the message," he said.
"Everyone" is best taken literally, meaning the young, the old, the locals and those abroad, to all of whom he said, "Thanks - very much," as his closing remark.
Teddy Yo (full name Tewodros Assefa) resides with Eden, his wife of two years. He sometimes wears inconspicuous clothes when he goes out that blend into society and a baseball cap down low over his eyes. He does this just so that he can get from Point A to Point B without having a dozen conversations along the way with fans and random people who recognise him. He is the epitome of an arada or an in-the-know Addis Abeban.
But after a one hour interview in a relaxed café, he became a whole lot more. During the interview, he talked about life, happiness and even history.
People love him, and he gets the encouragement to do what he does from them, he said, but he had a bone to pick with views held by some regarding Amharic rap.
"Some people say rap is not good for our culture or that it is not part of our tradition," Teddy Yo began.
He begged to differ. There is more in common with Ethiopian tradition than some people think, he said.
For example, after kings of old, like Emperor Tewodros, gathered their troops for battle, they would basically freestyle rap to get the troops ready for war in what is known as kererto and shillella, he explained.
His voice intensified as he described the connections of rap with the doo-rag (bandana) that Emperor Menelik wore under his hat, tilted like rapper R-Kelly does today, to the cornrow hairstyle of Emperor Tewodros and the combs stuck in the afros of the Afar and Kereyu. Even Negus T'ona of the Welayita wore an earring like most rappers, he said, as his own glistened in the evening light.
"I am not saying that American rappers took everything from Ethiopia, but there is a connection and many shared traditions," he said.
Most Amharic rappers only rap about partying and having fun, but Teddy Yo raps about life. To him, life is not only about the good times, but also the bad. He raps about the parties and he raps about the problems. He does this in a way that is often humorous, even to older generations that normally do not like or listen to rap.
His track 904 is a funny but all too true story of meeting a girl in a minibus, who turns out to be a golddigger, taking all his money and leaving him broke. He has some simple but wise words for those who want to avoid such relationships.
"Be honest, tell the truth, and do not pretend to be rich," he says with a smile.
His latest album was Dimts Albaw Mesariya (Silent Weapon). It came out about three months ago.
During high school he listened to Tupac, Notorious B I G, Ice Cube, and Easy-E, all rappers in the US. He and his friends would then freestyle together. They called it 'Enka Salamta'.
Now he is preparing to release some follow-ups to the single that brought him fame, Guragetone, with two more singles entitled Oromotone and Tigray Reggae. They exhibit his unique prowess in combining US rap with Ethiopian rhythms.
His next music video project will focus on social problems and issues. He plans to work with NGOs to distribute the album for free in order to reach the people who need to hear the message the most.
Teddy Yo has big dreams for everybody, himself included. In the next five years, he sees himself with his own recording studio and production business at the top of his own building in Addis Abeba.
Production quality is very important to him including sound and video quality.
"I spend my own money to make sure my videos have good quality using current techniques and technology," he remarked. "There are some good guys here in Addis that work hard and research online everyday to keep up with all the latest video and sound engineering tips."
Though he takes pride in quality and the latest techniques, his main focus is the lyrics.
"Everyone, listen to the lyrics; listen to the message," he said.
"Everyone" is best taken literally, meaning the young, the old, the locals and those abroad, to all of whom he said, "Thanks - very much," as his closing remark.
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