The once “youtube” performing artist that many of us watched assembled in a room with his guitar, replicating Ashur Bet-Sargis and Evin Aghassi released his first album, “Qeetary,” an 8-track compilation of Assyrian songs, all written by Albert Orahim,  earning him title and respect across the international Assyrian community.

But let’s retrieve some artifacts on this lad who was born in the ancient Assyrian capital of Nineveh.  Bubkey earned his nickname, “Ba-bik-ko,” from his father, who gave him the namesake of his own father, Warda Issac, (Bubkey’s grandfather).  His family relocated to New Zealand, almost immediately after Bubkey’s birth, where he grew up with three brothers Lenken, Leonard, and Leon, before making Australia their new home. 

Just how did this young man come to such authenticity and talent, despite being raised in the Diaspora?  The fact is his father, Elia Issac, an oudist, has had a tremendous influence on Bubkey and his brothers.  By the age of eight, Bubkey was already enrolled in an Assyrian school, where he had mastered his mother tongue and fallen in love with the Assyrian music.   Personally, however, he will admit that he owes falling for his first love, his nation, to the pictures of the Assyrian Kings Ashurbanipal and Sargon II that were displayed around his house.

 With introductions already in place, Bubkey has met with several Assyrian superstars during his first U.S. tour, (it looks like Canada will be borrowing him from us!) from Ashur Bet-Sargis, Evin Aghassi, Ogin Bet-Samo, Lida Lawando, Amanouel Bet-Younan (Bubkey’s idol), Albert Mansour, Ramsen Sheeno, Adonee Odisho, Samir Bahi, and Mukhlis Yousif, all of which resolve to one common denominator, that Bubkey is a sure thing.  Look for melodies from Alan George and Salim Sefo in Bubkey’s next album. 

In a correspondence with Assyrian legend Ashur Bet-Sargis, this is what he said to me ~ “Bubkey is a true artist, musician, and singer with a natural voice that has captured the hearts of lots of fans, and thus he has a very bright future ahead of him.  He is a very humble, down-to-earth person with a great personality, and this is what audience respond to.  I had the pleasure of meeting him, needless to say, and I will be very pleased to have him sing my composition sometime in the near future.” 

Most recently, Bubkey was rated 54% most popular new singer on the website myoomta.com, and the most viewed album for three consecutive months on Qeenatha.com., a good indicator that the release of “Qeetary” was a success. 

“But despite his recent rise to fame and good looks, Bubkey remains simple,” says Orahim Lazar, an Assyrian lyricist who has grown very fond of the young man.  I asked Orahim what was the key to the Bubkey formula, and this is what he told me ~ “Bubkey’s beauty starts on the inside, he is a beautiful soul.”

Fans everywhere are well aware of this, and that among the many things in Bubkey’s life, he remains passionate about his guitar, laptop and chai.

Artist: Bubkey
Album: Qeetary
Year: 2009
Lyrics: Albert Orahim
Arrangements and Recordings: Evan Yako at Real Rhythm Studios
Genre: Folklore

Arabic Translation ~ 

 المقال يتحدث عن مغني شاب استمعنا اليه جميعاً من خلال موقع اليوتيوب. في غرفته معه الغيتار ويغني اغاني أشور بيت سركيس، و ايوان اغاسي. 
 
قد اصدر البومه الغنائي الأول بعنوان  اي قثارتي ( او غيتاري ) ويحوي 8 أغاني من كلمات السيد البرت اوراهم، اكسبه الاحترام والتقدير بين الاشوريين.  
 
ولد في عاصمة اشور القديمة " نينوى " . اسمه الحقيقي وردا اسحق وهو اسم حده. ولأنه عندنا حين يكون اسم الولد على اسم الجد فإن الجميع يناديه باسم ( بابا - بابي - بابكو ...) لذلك كان الجميع ينادونه بابيكو وبذلك التصق هذا الاسم الجميل به وبقي هو اسمه الفني ايضاً. ترعرع في نيوزيلاند ثم انتقل الى استراليا. 
 
ولد حبه لأمته و التاريخ والتراث والموسيقا عندما سجله والده في مدرسة اشورية في نيوزيلاند. وفي زيارته الاولى لأمريكا قابل الكثير من عمالقة الغناء الاشوري مثل اشور بيت سركيس، ايوان أغاسي، أوغين بيت صامو، البيرت منصور، عمانوئيل بيت يونان..الخ. 

 سركون ياخنيس / شيكاغو

Emanouel Bet-Younan was fourteen years old when he took center stage to sing on an Assyrian television show in Kirkuk, Iraq where he was born and received his education.

 A youth then, he formed his first band in 1981 under the name Shamiram and began performing at private Assyrian weddings and parties.

With uncertainties in homeland, Emanouel took refuge in neighboring Iran, but found himself in Greece in less than a year, where he continued to perform at private functions and national holidays ~ Assyrian New Year (Kha B’Neesan, Assyrian), and Assyrian Martyr’s Day (Shawwa B’Tabbakh, Assyrian).

Unsettled, yet focused on his path, Emanouel’s next journey took him to New Zealand, where he lived for five years and scraped all that was left from his past to reestablish himself as an Assyrian artist in Diaspora.

An artist whose work has a strong foundation in the Assyrian political movement and roots in national humanitarian projects, his first album, a transparent determination of the survival of his people in Iraq, “Shighda mn Garbya” was produced in 1994 in Sydney, Australia where the artist was living at the time and performing regularly at the Assyrian Culture Club and the Assyrian Nineveh Club. 

With the album soaring internationally and the artist enjoying the much-deserved fame, the Assyrian Democratic Movement hosted Emanouel in Chicago where he performed for the first time before a sold-out audience at a charity event.

Following his groundbreaking performance in Chicago, the doors to Emanouel’s musical career quickly began to open.  Earning international recognition within the walls of the Assyrian community, he began to tour within the United States, Canada, Europe, and Australia, building an ever tall order of philanthropy for any artist to follow in his footsteps.  Emanouel, the first Assyrian artist to lend his voice to thousands of fans in the Nineveh Plain (Dashta D’Nineveh, Assyrian) has helped pave the way for humanitarian missions in homeland Iraq and built charitable alliances by pairing the Assyrian Democratic Movement with the Assyrian Aid Society to help build awareness and raise funds that were desperately needed to build the Assyrian dream in Iraq ~ an education system, its transportation and student housing, day-care centers, orphanages, pharmacies, food and medical supplies, to say the least, throughout cities and villages in the Northern region of Iraq.

With the execution of work in motherland Iraq, the message had clearly been delivered when Emanouel snatched the Assyrian musical charts for the second time with his follow-up album “Agarta Qa Yimma,” produced in 1996 where the artist made Chicago his new home.

In the following years, joined by other singers, Emanouel performed in the Assyrian Song Festival in Chicago for two consecutive years.  But even after accomplishing this much success, he continued to live his life in the fast lane, shifting gears between family and career, a humanitarian during the day and an artist by the evening, while making one country after another his home. 

Apparently, he needed to settle some old scores with the release of his third album, “Durara Mzayna.”  The success of this album is without a doubt owed to the river-deep, mountain-high voice of the artist himself, but greatly indebted to the contributions of some of the most credible lyricists of modern Assyrian songs ~ Rabi Yousep Bet-Yousep, Ninos Nirari, Jaklin Pityo, Orahim lazar, Wilson Lilu, Yousip Menashi, Sargon Esha, and Macksud Ishaia, and the sounds of Alan George, Dawod Barkho, and Billy Warda.

His second trip to Iraq in 2005 waved sounds of freedom from the East to the West as Emanouel visited motherland Iraq once again to commemorate the Assyrian New Year (Kha B’Neesan, Assyrian).  This trip was immediately followed by his Middle-East tour to Syria, Jordan and Iraq where he performed at several concerts to promote the Alrafedaen 740 ballot representing the Assyrian Democratic Movement in Iraq’s National Election.

Earlier this year, Emanouel traveled to Iraq yet again to perform in Baghdad, Baghdeda, and Telesqoph to celebrate the grand opening of Ashur TV satellite and to raise awareness on the importance of participating in the then city elections.

The color purple (benawshaya, Assyrian) accompanied by the symbol of love can only be a privilege for any recording artist to sing about a young Assyrian lover that embraces the passion for his nation and martyrdom in one breathe.  These are the lyrics of the song “Zowaaya Goubya Alee,” a soon-to-be-released hit by Jowan David, a.k.a. Bol Bol, penned by OC_Joe.

Like other young songwriters, OC_Joe followed in the footsteps of the earlier generation of lyricists and arrangers.  His long list of favorites includes Ninos Nirari, Nashaat Younan, Edward Mousa, Shimon Barkho, Dr. Sameh Barcham, Aprim Bet-Yousip, Maqsud Eshaya, Yousip Minasheh, Orahim Lazar, Sargon Esha, and his pals Dawod Barkho and Amir Younan.  But this young man’s qualities were kept hidden while a teenager, which is uncommon for a zestful heart to keep the thrusts of emotions so deeply-locked within the barracks of his heart, until his public affirmation came when sharing his talent with singer Shabeh Lawando in the song “Bret Amee,” and Sargon Gabriel’s “Chertelah” becoming his first hit.  Soon after, he found himself working with the likes of Emmanuel Bet-Younan, Ramsen Sheeno, Juliana Jendo, Salim Sefo, Adonee Odisho, Jowan David (Bol Bol) and Albert Mansour in United States, and Hadeel Sandy, Philip William, David Khoshaba, and Rani from Iraq.

 Born Yousep Youkana, OC_Joe shares memories of his birthplace Nineveh, the once ancient Assyrian capital, while making Chicago his second home.  I first met OC_Joe in Istanbul in 2008 during what I often refer to as my “Thirty Years in Exodus” trip to my birth land Iraq.  Among the many who shared this pilgrimage, OC_Joe was not hard to spot, even before he had formally introduced himself to me.  This young man was infused with energy and enthusiasm, quickly becoming our tour guide in Turkey and Iraq.  I could tell then that he was someone who possessed a strong character and had what it took to get us across the border, racing between cab drivers and border check points speaking multiple languages, all the while accommodating the elderly and the women.  I believe OC_Joe’s motto is travel lightly and be quick on your feet to respond to uncertainties.

But such trips are not uncommon for this man.  In 2006, he had traveled back to Iraq to work with various Assyrian recording artists to help them produce their own original sounds, while marketing them in Diaspora.  Today, his contributions are widespread.  Having no professional musical background, OC_Joe hopes to grow in talent and to continue working with the Assyrian song.

 To learn more about OC_Joe, visit www.myspace.com/OCJOE1

 Dedicated to the loving memory of “Nishra” Zirqo

 * Zowaaya (member of the Assyrian Democratic Movement)

* The Purple Heart is a United States military decoration awarded in the name of the President to those who have been wounded or killed while serving on or after April 5, 1917 with the U.S. military.  Source: Wikipedia.

May 2009

Ashur has built a life out of doing precisely what people presume will not pay off. But I am certain that as a musician, if you brought him into a room and said there’s one door that you absolutely cannot open, that’s the door he would open. But just like the legends before him, in this highly-competitive industry, and with no land to truly nurture our music, Ashur knows what it’s like to hear a door close, as well. Yet, he has survived the rollercoaster ride of the music business by refusing to let others define him. The Ashur Bet-Sargis story has always been about making that leap of faith with no net.

Now, as Bet-Sargis enters his fourth decade of making music, that metaphor is more than appropriate for his recently released album Dashta D’ Nineveh. Ashur has come to realize the new album reflects his indomitable curiosity and his refusal to ever be categorized. With Dashta D’ Nineveh, Ashur has once again gone for the surprise rather than the sure thing.

I say that making a new record is always a mystery. It is an affirmation into the unknown. Ashur has achieved his amazing run by relating simply and honestly to the people who now celebrate his records as quintessential moments in their lives. Dashta D’ Nineveh, if anything, is dedicated to the notion that while it is a mystery as to where such a gift comes from, there’s always thankfulness for its arrival. Fans, take heart knowing that with this release Ashur was able to accomplish his mission and more.

The album features twelve all original songs. Here is where Ashur did things differently, going to where the vibe is strongest. With all fingers pointing at the Assyrian nation facing dissimilation from homeland Iraq and the national movement on the rise, placing Ashur in the reign of activism is timely and appropriate.

Ashur once told me in a radio interview “you can find out where it all comes from if you want, but don’t ever go looking for it.” I’ve never forgotten that. I am certain that people have asked him his whole career where do the songs originate from? There is no formula, to my mind. But I readily admit that perhaps there is nothing quite as humbling as a microphone hanging in the middle of a room, while you are sitting in front of an audience pouring your heart into a statement through lyrics and music.

To me, this album is about a person who has been around for a long time and who has always been there for you. Like a friend who’s walked with you throughout your highs and adversaries, Ashur has grown in the hearts of many and his timeless voice has traveled from one continent to another, entering homes, touching lives, and piercing hearts ~ reminding us all that we are not but mortals. I could not miss the level of musical maturity that this amazing artist has achieved, taking nothing for granted. And to those lovers whose desires have been met by keen arrows, there is little hope of recovery after listening to the love tracks.

Ashur’s rapport with his fans is legendary. For fans who have watched over him throughout the years, sometimes I think he writes songs thinking how they will react to them. Not only do they sing along to all his songs all over the world, but the first name basis he’s earned in their hearts has been protocol when naming the first two Ashur’s that come to mind, alaha Ashur and Ashur Bet-Sargis are for sure two of the first.

Having recently completed sold-out benefit concerts for the Assyrian Aid Society in California, Ashur Bet-Sargis earned rave reviews and won over a legion of new fans, the new and upcoming Assyrian generation, in particular.

With Dashta D’ Nineveh recently released, Ashur Bet-Sargis will once again show the depth and breadth of his unique talents.

Artist: Ashur Bet-Sargis
Album: Dashta D’Nineveh
Year: 2008

~ Helen Talia
www.helentalia.com
December 2008

In 2006, Ms. Rita Dawoud won final place in the Assyrian Super Star, produced by Mr. Yousip Bet Rasho, director of the Assyrian Media Center in Chicago. At the time, the vision that was foreseen for this production was to "cultivate a new generation of Assyrian singers." But all that hype ended over two years ago.

Since then, where has Rita been? The Assyrian watchful eye (a.k.a. Assyrian Inquirer) has been scrutinizing Rita closely. After all, she was the promised new star to enter Assyrian Hollywood.

Finally, after two years of maturing public anticipation that slowly turned into doubtful exasperation in the absence of the artist, Rita shines in her debut album "Gashaqtet Khoba."

But what has taken this young starlet this long to make her first public recording? Well, in addition to envisioning a theme for her album and spotting fitting material, she also got hitched! That's right, the once resident of Michigan now happily nestles in Arizona with her hubby.

After learning of Rita's album release, I look forward to hearing it and familiarizing myself with all its tracks. I feel that in given time and with enough performance maturity, our beloved Rita can accomplish great musical heights. She most certainly has the vocal charm and softness to be adorned as Assyria's Ambassador of Peace.

Source: Chicago Tribune 

But just when we thought to look to Iraq for traditions and folklore sounds, comes a crossroads album filled with jazz, pop, and even some Greek influences in Vera’s debut album “Ana Yan At.”

Though this is namely a folklore album, it often steers away from familiar sounds, landing somewhere between the strings of Spanish guitar and percussions. Anyone familiar with songstress Celine Dion will recognize the borrowed sounds in the first two seconds of the opening track “Khooba Wera” from “It’s All Coming Back To Me Now,” Celine’s 1996 hit from the album “Falling Into You.”

The music often shifts from one style to another in an attempt to capture too many sounds, and thus looses connectivity throughout the album, albeit the soulful Assyrian beat finally peaks its head in the sixth track “Jwanket Mathene.”

Vera is courageous! In the face of the carnage in Iraq where women are being forced to dress in headwear, she masterminds the Westernization of her album, including album writing in the English language, artistic photos, and surrounding herself with gifted musicians. She possesses beauty, talent and pizzazz. Senharib Productions must’ve had one heck of a tough Assyrian woman on their hands. This album has a big attitude.

Artist: Vera
Album: Ana Yan At
Year: 2008
Lyrics: Vera, Zaia Gewargis, Noel Beto Youkhana, Shedrak Bet Samano, Loranse William
Music: Senharib Ashori
Producer: Senharib Productions
Genre: Folklore

In Canada, there is a “treasure” sworn to secrecy in an Assyrian home in Toronto that has not yet been revealed to too many people.  Come closer, you see it, not with your eyes, but with your heart, you touch it, not with your hands, but with your eyes, and you feel it, not with your heart, but with the depth of your soul ~ the secret is “Dawod Barkho.”

I arrived in Toronto on a mid June afternoon, searching for the man who had made countless contributions to modern Assyrian pop culture music, and recently been named as one of the “Top Twenty” Assyrian lyricists in Abboud Zeitoune’s “The Music Pearls of Beth-Nahrin.”  I walked up the stairs, introducing myself, as he gazed at me smiling.  Within seconds, he took me in his arms for what seemed like a long ten minute bear hug.   There, the ice had been broken.

“Modee B’Shatyat,” he asked?   I noticed he was sipping tea, so I opted to have the same.  Prior to this day, we had spoken several times over the telephone to discuss a research project I had been working on.  But as time went on, Dawod himself became the “subject ” an important one, might I add.

“Before there was war, there was love
Before words were ever spoken, there was sound
And to sound, music was born
And thus music brings passion to lovers, peace to brokenness and hope to the desolated"

Born Dawod Barkho Haron in the ancient Assyrian city of Nineveh, a.k.a. “DoDo Toronto,” his family background is one of caliber, wealth and prominence in and out of the Assyrian community. Facing turmoil, Iraq would have its way in giving to the world some of its finest sons and daughters, one being Dawod who found himself a new immigrant in Canada, searching for a new beginning, leaving everything behind, except his creativity and memories.

Constructing a life in an unfamiliar land can make one a great performer who uses particular ways simply to reconstruct the existing space. As an artist, Dawod has used creation as a mean to distill his experiences in a frame that became much like a page in a diary. And in making a still image of the familiar, he connected to his audience by extracting imaginative participation that allowed them to recreate the space and time of their own original performances.

The years that followed would be some of the most prominent years for Dawod in putting together song lyrics and music composition, making “Le Mansheneh Khoubakh” by Edmond Sezen his first hit.  To the Assyrian music, it added a new dimension to its literacy, and to a woman, it tore a page from her heart.  But to the man who had written such impeccable songs, these were expressions from his salvaged life ~ tracing roots to his past, longing for a love that had not yet been made, and the distance that had frozen between him and his family.

Dawod has been a musician for as long as he can remember.  When asked, he is very passive about it as if it is second nature to him… it runs in his family.  By music classification, Dawod defines himself classical, although his “A” list songs have also catered to Assyrian folklore, dishing out innumerable top hits on a silver platter.

In observing famous Assyrians, in the last few years Canada has been home to some of the finest Assyrian musicians, lyricists, writers, and singers.  Dawod, a man whose depth is as far-reaching as the sea, is not only on top of his game, but he has refined pop culture, blending his powerful ingredients of classic and folklore to create successful careers for many artists.

I believe that art, if not to change the world, definitely has the ability to leave a lasting effect on the mind of the viewer. That in the context of contemporary society, self-portraits become a search for self-definition and, I, as a negotiator (writer) between the public and the private man learned that the real secret to a man’s success lies in the sacrum of his heart. As a result of such unconscious behavior, I have now come to know that Dawod has created the song that lovers beckon to and a thousand “khiggeh” that weddings entertain to.  In conclusion, at the end of my interview I came to find out that the “Iron Man” who wears his armor very tight and holds his shield steady is tenderhearted.

Song contributions: Sargon Gabriel, Janan Sawa, Juliana Jendo, Walter Aziz, Johnny Talia, Issam Arrabo, Ramsen Sheno, George Gindo, Adonee Odisho, Edmon Sezen, Rita Dawoud, Tony Gabriel, Munadhel Tomika, Talal Graish, Faris Esho, Shabeh Lawando, Odi Youel, Ramis Bet-Shmuel, Moshi Goriel, Toma Gilyana, Hadeel Toma, Julie Yousif, Emmanuel Bet-Younan, Isam Hormez, and coming up for Evin Aghassi, Johnny Youkhana, Faris Younadim, Ninos Shamoun, Joan “Bull Bull” David, Shant Esho, Bassam Al Rakani, Yousip Eliya, William Yousif, Thamer Romaya, Mazen Enishkaya, Bjorn Kando, Nofel Shamoun (Germany), Albert Sada, Arkan, Charles Toma, Livon Oshana, Phillipe William, Odi Simon, Ayad Algoshi, Albert Ninwaya, Odisho and Sonia Odisho, Isam Sawa, and Nofel (Canada).

Style: Classic, Assyrian Folklore

Featured in Khabour.com, Qeenatha.com, Ankawa.com, SkokieTalk.info, Tebayn.com, Myspace.com/dawodbarkho   

Clichéd choruses about Kamareh and Pousheyeh are sounding a little bit redundant these days. Songwriters should pick a new topic to write about, and I say this with all sincerity. As for singers flooding their albums with folklore from protégé topics, look around, there is beauty everywhere in Assyria. Even the most interesting song is passé in concept. Just how many songs do we need about generational pride? Well, whatever that number is, apparently songwriters think it just isn’t enough.

Catering to the "icon" wannabe movement isn’t the way to go either. It's not hard to imagine what a "souvenir song" could be talking about in an album… "shoohara parsoupaya." What's even worse is that songwriters seem to think this philosophy represents their generation.

It's not clear whether such musical productions reflect a singer trying too hard, or a writer having tremendous influence over a singer. Is it just being lazy, or plain crazy? Either way, the music can be summed up as simply mediocre.

In the continued envelopment of the unity among the Chaldeans, Assyrians, and Syriacs, illustrating the traditions of other Assyrian regions in a song could stand a chance. Perhaps even the harmony that is craved for in our church should be addressed in the Assyrian song, instead of throwing a blanket over it, taking sides, and shunning each other. The fact is our song has reached a plateau. It is merely floating atop still waters.

Songs, lyrics, and music are some of the most powerful instruments of preserving and developing our tangible and intangible heritage. They should reflect not only the artist’s style, but the current state of our existence as a people. The Assyrian nation is facing extinction in Iraq, and our song must personify the crisis that beholds us in Iraq ~ kidnap, rape, assassination, exodus. Eventually, this crisis may very well tip over into other neighboring Middle Eastern countries that historically share Assyrian land, i.e. Syria, Lebanon, Turkey, and Iran.

In the last month or so, I have traveled through cyberspace of some fifty artist websites, blogs and myspaces. Not a single one addresses the existing circumstances of the very nation that they sing about. Who are we kidding? No one lives in a bubble world. The demonstrations in Ankawa, Kremles, Baghdeda, and Bartilla, following the kidnap and killing of Archbishop Rahho were a cry for help. This was not an isolated incident, but the reality of our present. Why do we keep missing the mark? Martyrdom is never in vain; for even in death we should be birthing opportunities. How we act today will shape the future of our nation. We must be careful in how we choose to write our history.

Look around, artists like Sting (previously with the group "The Police"), or Ireland U-2's frontman Bono, the twice nominee for the Nobel Peace Prize for his activism in third world countries. Lebanese Fairuz and Majida El Roumi have stared death in the face and called it what it is... death. They have chanted to Lebanon’s glory, calling to an end to civil war and a union between the Christians and Muslims, even when Beirut’s streets were quenching blood. These artists have inspired governments and shaped history.

Having the ability to reach mass audience, an artist can represent his nation, demand changes in politics, restore peace, end famine, educate her generation, and bring balance to an unstable country.

The challenge is how closely aligned is our song with the predicament that our nation finds itself in? Being that a song is the fastest transit between a subject matter and the audience, more and more songs should reflect the ideologies of our nation. The time is ripe to call on our musicians to use their talents with due diligence, and to give back to the community, instead of viewing their careers as simply cash cows. Here is your chance to step up to the plate to save the Assyrian song and embellish history.

Featured in Zindamagazine.com, Ankawa.com, Qeenatha.com 

It was a treat waking up this morning to read the interview with Joseph Fraidon Poles. Published only hours ago, yet the music for which Joseph stands is antiquity in relation to what most Assyrians customarily tune in to.

Classical music is visited upon only those who are both, unique, and gifted. And while our dearest Joseph may be removed geographically from his global Assyrian community, he is nontheless fortunate to be an Ambassador of Assyrian music to the world. Similarly, as we may be a bit more culturally enriched because of our close-knit communities, he is by far more worldy enlightened, having visited almost every country across the globe.

Growing up with Joseph (brona d'khaltee), times were never dull. The sizzling Baghdad summer afternoons brought us even closer, oftentimes sneaking to see each other while the neighborhood snoozed, simply because we couldn't get enough of Osi's magical personality. Even back then, he had his ways about him. Being the oldest, he naturally lead our little group, organizing plays, writing scripts, performing magic shows, oftentimes setting up kitchen chairs for a "Star Trek" episode, of course himself as "Captain Kirk."

Driving the point home, those of us who share the classical feeling we journey in is universal. We feel isolated, yet celebrated from a distance. We behold the world, but a split second removed from touching it. We are never alone, yet we suffer from loneliness. We give more to the world, than we ever feel nurtured by it. Naturally, this leaves a vacuum in our hearts, which renders a craving to design and create. But it is during these times that we are at our best. In the words of the late Assyrian-Lebanese writer Khalil Gibran, "It is when you give of yourself that you truly give."

The global Assyrian community is proud to have a son "Joseph Fraidon Poles" who has contributed to classical music, while weaving his Assyrian culture in his sounds.

Source: Khalil Gibran, "The Prophet," 1923. Lebanon

Featured in Qeenatha.com 

An interview with Assyrian singer George Gindo in his hometown Chicago, in an exclusive interview for Qeenahta.com.

George Gindo on music, family, and King Biba… How his memories of college days, pilgrimage to athra, and life in diaspora have challenged him to become, both, a better musician, and a role model… Read details…

Q: What is the musical path (genre) on which you have built your music? How do you define your style?

A: I hope you have listened to my first cassette released in 1992, you will see it that my style is more of modern Assyrian (of course now is more of a common one) the types of beats we used, songs and melodies they were all original and up to date at that time, with own style of singing.

Q: In your bio, you state that you have been influenced, musically, by your brother. Is there one certain time, or event, or any other artist in your life by which you define your musical influence?

A: The time was in the evening of one summer night in Kirkuk, in early 1970s’. In the Assyrian Sports Club there was a party featuring for the first time in the city the sensational Edwar Yousip “King Biba.” While waiting outside with bunch of teen friends many other fans and other older people for the arrival of Biba (whom we had never seen before) I was shocked the way he was escorted inside the club with so many people trying to reach and touch him like he was some thing rare (and he was). And inside he sang his heart out which left me mesmerized all night and for days and weeks after that. That night is one of the ones that I remember so vividly and left me dreaming of my day to come.

Q: On Assyrian song, how successful is it on an international level? Or, how far is the Assyrian song from achieving that, and if so, what would it take to achieve that?

A: This is a question that is asked so many times, great question though.

It is too early to say that our song is successful on an international level. We have a long way to go and many things to do to get it to that level. I will just state few things that are probably to my understanding, keeping our Song/Music beneath the surface:

* Weak Assyrian media. And what is available is either connected to political parties, national or social Associations or are some what bias. We need review panels to review the songs MUSICALLY prior to airing. Now, with all my respect to all the singers, there are songs that contain elements that are not fit to be aired along so many very good songs. Lyrics, music, singing, melodies, arrangements are few that we need to categorize the songs by (Genre) and it is important for our media stations to play different (Genres) instead of mixing them and at the end they all sound alike.

* Live performances, varies from recorded songs. That is due to the music level played in live performances is not near what is in the recorded albums. This is caused by:

Lack of musical groups or bands that practice and plays Assyrian songs and perform it, as is in the recorded albums. If we do have such bands like it used to be in the 1970s’ and 1980s’ our new generation will be looking up to them and compete to improve our music. All I see in our kids today if they want to pick an instrument, their first interest is to be a keyboard players and very “I MEAN VERY “ few want to be a guitarist or a base player or a drummers, etc. because there is no need for them on our stage, and that is sad.

This will never end until we bring back full bands and live performances to be as good as recorded albums and get our new generations to enjoy both, the music and the singer alike like it used to be.

Q: On athra, I learned that you are a predecessor (someone who laid the ground for others to follow), among other Assyrian artists who promoted Akitu festivities (zouyakha d' Neesan) in Assyria. Please tell us on your experience, our people, our culture, and above all... our land, Assyria.

A: Regarding atra and zouyzkha d’ Kha B’Neesan, I am happy to be considered among the first ones that opened it up for others to go and celebrate with our brothers and sisters in homeland the Akitu festival. Along with Ashur Bet-Sargis, Ammanoil Bet-Younan, Nagham, Ramis Bet-Shmoel, Venus, George Abdo, and other in April 2007 we made history in Nohadra and the rest of Bet Nahrain when along with tens of thousands of our people in the northern city Nohadra celebrating the Kha B’ Neesan Akitu 6757, we marched, sang, cried, laughed in the rain for hours. A day I will not forget as long as I live. Then we met our people young and old, students and scouts, “qrawtaneh” and clergymen, throughout our towns and villages from the plain of Nenahah to the mountains of Barwaree bala, Nahla, and Sapna. We visited Diyana, Ankawa, Baghdeda, Alqosh, Sharafiye, Telesqoop and others.

The most important thing to me was the visiting of our schools. From pre-school to grammar, middle and secondary schools, we saw our bright future. That was the hope, and I hope we can concentrate on that more than any other thing. As I said that is the bright hope for our nation to survive.

No matter how much I talk about our home land it is not enough, it is expected from all of us to visit the land it is a pilgrimage and we must pay our dues to our remaining people there.

Q: On family, many of your fans would like to know... You are married and have three children? How has this experience nourished you as a man, by extension cultivated your soul as an artist?

A: Yes you are right, I am married, to my wife Susan, and have three beautiful children, Ariana, Taymen and Assyria. Well my main support comes from my family, especially my wife, as she always stood beside me encouraged me and at times critiqued me musically in song selection …..etc.. My kids is were I draw my strength from to continue my singing career and to be a good role model, and to make them to be proud of our culture, music,…..and hope that will spring up an interest in them to be involved in our community.

Q: Tell us about your early beginnings, from athra to Chicago...

A: Well as any singer, it all begins when you are a kid, the love of music is always there, when a teenager, we used to get together with many friends and play self made musical equipment, from string instruments, Drum sets, radios converted to amplifiers and so on, forming a group and practicing. One thing is that our families never want us to grow up as artists, as you know in those days that was not some thing our parents wished for their kids, my family wasn’t any different, and made sure that I will not follow in my older brothers foot steps, they needed me to concentrate on my schooling and nothing else. But I still continued to carry singing inside me and any chance I had, whether in group of friends and or family gathering I used to join in singing few songs in Assyrian and/or Arabic. In Nineveh during my college days in University of Mosul, I continued along with bunch of student friends to lead the singing in our picnics that we used to hold near the ruins of ancient Nineveh, or to Alqosh and other places within the outskirts of the city. When in Greece nothing special except at the typical friend group gatherings. In the late 1980s’ is when I had to take singing more seriously along with some musicians we formed a band and started to practice at the Assyrian American Association in Chicago. My debut as a main singer was on one of the Sundays at an indoor picnic that used to be held at the club. It was a full house with a great night that I still remember.

Q. George, your last thoughts. Any upcoming projects?

I am currently working on my new album and I am hoping it will be completed before year- end. More details will be posted on my “MySpace” and other Assyrian sites as it nears completion. Also, there are some thoughts I’m formulating with a few other singers to complete a joint project, something unique and different. If it materializes you will see a change in our music.

My last thoughts, I’m hoping that our song will elevate to the level it deserves, and wish that our people will continue to support our music and treasure it because it is truly what I consider to be the pillar that unites our people. We need to expand our market and find ways and means to increase the sale of our CD’s that will guarantee the continuation of good productions.

Finally, for you Helen I thank you for what you are trying to do, from interviews, commentaries, reports….etc about our artists and the Assyrian song connecting our singers/musicians with our people across the globe, God bless you.

Shlama

George Gindo

Thank you, George, for giving Qeenatha.com this interview. It was a pleasure working with you and learning more about what cultivates you as an artist. We hope to hear from you in the near future and look forward to your upcoming projects. Best of luck!

Featured in Qeenatha.com 

Chicago Honors John Dashto

A typical Saturday evening in Chicago ~ busy traffic, circling the long city blocks to find parking space, running in high heels, compromising a seat in a sold-out event as Chicago rolled out the red carpet for its stars in one big ensemble featuring singers, musicians, lyricists and audience that cheered to more than twenty talents that took stage at Eden’s Banquet, a.k.a. the Assyrian Social Club this weekend.

Despite the winter blues, the Chicago Assyrian community did not deter from celebrating the musical career of its own, the legendary John Dashto, marking thirty years of stardom in his hometown. Chicago, the city of immigrants, politics, and showbiz has birthed the most successful Assyrian artists, and cradled the longest recording and performing careers of many talented pop and folklore genres. It is the spice, jewel, and talk-of-the-town where dreams do turn into realities.

Singer, song writer, and musician John Dashto was born in the historic city of Nineveh, and raised in Kirkuk, where he pursued his formal musical education. In spite of having a very young career in his birth country Iraq, John took center stage alongside Ashur Bet-Sargis at the Assyrian Youth Association only weeks after arriving in Chicago in 1978.

Since then, he has recorded four albums and served on musical panel (Assyrian Superstar). A singer, musician, and song writer, his contributions include to the likes of Sargon Gabriel, George Gindo, Janan Sawa, Juliana Jendo, Malik Merza, and Ewan Shamdinany, to name a few. John’s own creation has been the daring infuse of “Hewa,” Southern Iraqi folklore music, into modern Assyrian sounds. He is most well known in galoota (Assyrian, diaspora) at the height of his career in Chicago in the 1980‘s, where he enchanted his audience at the original Assyrian Social Club and Assyrian American Association as crowds gathered to hear his earlier recordings, “Min Nagestan,” “Awara,” “Gasheq, Gasheq Biyee,” and “Lewat Bas Aten.”

For die-hard John fans, history was revisited as the stage was opened by welcoming speeches from Mr. Hirmis Tairo who delivered John’s biography. Mr. Ninos Nirari’s speech included John’s symbolism as an artist, and the memoir of the two, a poet (Ninos), and an artist (John) for 35 years. Likewise, Mr. Ishaq Ishaq from Iraq spoke on the importance of the morphing power behind an artist’s role within a nation. As the crowd sat back, taking in everything in a single breath, Sargon Gabriel hosted the striking musical montage, while Venus (Agnes Youkhanna) graced the stage, followed by Sargon Youkhanna, Lazar Malko, Odisho Odisho, Shabeh Lawando, David “chaplaya” (Assyrian, lefty) Simon, Wisam Zaia (Al Iraqi), Zander David, Salim Sefo, Raad Zaia, Sargon Rasho, Fatin Shabo, Enwiya ‘Banipal’ Giwargis, Avadis Sarkissian, Johnny Youkhanna, George Gindo, and Livon from Holland. Among other singers who attended the event were Elizabeth Oshana, Isabell Ishtar, Joe Eivanoff, Dr. Roney Pera, Melis Eshaya, Steve Jallo, and Albert Oscar.

But it was the belting of Dashto’s “Shqolee o’Pareqlee,” dubbed by Youel Odisho “Touwee,” penned by the late Warda Khnanisho that brought the stage to life, backed by music legends ~ base guitarist Raymond Jammo “Nee Nee,” guitarist Johnny “Guitar,” and drummer Pani.

In an exclusive interview with John Dashto, his words were: “No matter what I say, it is not enough. Every person that has attended tonight’s event is because they care, and I have a lot of respect for that. With an open heart, we welcome back people into our lives whom we have not seen in years.”

The event was hosted by Chicago Assyrian singers and musicians. As for John Dashto, he has opted to remain in the meezalta (Assyrian, parade), singing for his people. Clue: never underestimate the power of Chicagoans. John, we love you.

If looks could kill, Munadhel Tomika's eyes would stop traffic and turn heads during rush hour on Interstate 10, which runs through his home state, California. Conceived from a Middle-Eastern trait of beauty, "hawolt hesen" signifies, above all, a certain sexuality that is a rarity (nader, Arabic) in its form.

With the release of his new CD “Libee Asheq,” and five others under his belt, Tomika can claim a lot of territory. Not only does he have an advantage over many other singers who would fight to be in his place (U.S. is where singers make it big), but he is busy touring the world, interviewing, and producing videos. How different from what seemed the quite a bit shy and less domineering than Juliana Jendo in the video clip for song “Huba d‘la Spara”

To say he’s done it all so simple would be, well, true, but also a little too easy. Anyone knows that conforming within a genre’ takes a huge effort. Even the best-selling sounds need to be created perfectly into mainstream music.

Singer Munadhel Tomika is a powerful and energetic performer. For what has become today’s mainstream Assyrian music, Tomika has much celebration to fuss over, and his fans have a lot to anticipate for. The 10-Track CD features an even balance of Chaldean and Assyrian (dialects) songs ~ “Zalim,” “Kamareh,” “Khamtid Matha,” “Tla Karmaneh,” “Bideren Ilakh,” “Libee Asheq,” “Shoshleh,” “Seeyewin,” “Kalo Khitna,” and a bonus track (Zalim), all solid folklore catchy dance beats.

Accompanying Tomika in lyrics and music are singers, musicians and song writers from California, Chicago, Michigan, and Canada ~ Janan Sawa, Rames Bet-Shmoel, Amir Younan, Gilyana Odisho, Esam Sawa, Luay Yousif, Johnny Sana, Edward Yousif, Isak Matti, and Delan Mesho.

As always, homage to one’s ancestral land is special. Rames Bet-Shmoel’s depiction of Alqosh in “Bideren Ilakh” is such song that I am sure Munadhel will be chanting very soon amid his “b’nai matheh” (one’s village people) in Alqosh. Fourth track, “Tla Karmaneh” has a delicate sound and Arabic beat to it. It is put together very well.

The artist’s self-produced album is dedicated to his wife, with special thanks to “God” and his fans, worldwide, along with his musical team.

During live performances, Tomika is the creation of art in the vision of a man. He dominates the stage, taking charge of his band, amidst live dance performances with his audience; making it all seem too effortless.

On fashion, Munadhel definitely has what it takes to keep all eyes on him. God bless an Assyrian man who possesses talent of this magnitude, spiffed in a 3-piece suit. Munadhel aught to be crowned Assyrian prince of fashion. Giorgio Armani has nothing on him.

Album: Libee Asheq
Year: 2008
Photos and Video: Creative Vision Cinematography

For further information, visit artist website:
www.myspace.munadheltomika
www.munadheltomika.com

Featured in Qeenatha.com, Khabour.com 

I can not say for sure if I have ever known of Albert Mansour beyond an Assyrian name until recently when I stumbled across one of his earlier recordings "Eyeneh Dimahanay" in the midst of my search for Assyrian artists in an attempt to write new material. The song stared me in the face, an answer to the desire of every woman’s hush, attempting to collect fragments from a failed relationship, through the pain of her beloved who cries for her return.

Only one thing, the man in this song had relinquished victory to the woman, so there were no points on the scoreboard to even out. And to me, this was the juncture I had been in, in finding meaning in a song that gave me a sense to a man’s emotional depth, that within each layer, he is left to fight the tears, oftentimes worn by a warrior’s shield of strength. It left me knowing that underneath it all, he is just a person. Orahim Lazar wrote “Eyeneh Dimahanay” ten years prior, but the lyrics are as good as new.

The reprise of Albert Mansour’s "Eyeneh Dimahanay" is a double-sided lens looking in at broken promises, when the iceberg sets in as the cold war begins, after the woman’s ship has set sail from the man’s shores.

My gratitude to Albert for giving every woman a fresh perspective into a man’s heart. Thank you for letting us see the, not quite the softer side, but the beauty inside a man’s heart ~ his love, tears, joy, and sorrow. The ever-nurturing vein he sacrifices at the altar (madibkha) of his love. May the iceberg that we women have caused to settle in a man’s heart begin to melt, and for spring (neesan) flowers to blossom once again, yielding afresh beauty to our beautiful men.

Artist: Albert Mansour
Lyrics: Orahim Lazar
Album: New Love
Year: 1998

Featured in Khabour.com, Qeenatha.com, Myspace.com/albertmansour

Some years have passed since I stood along a pleateau in my father's village, Gonda Kosa, while my late father pointed to where Turkey's mountains beam with a sense of strength and pride... "There is Hakkari, where 'athra d'babawathan' lays," he said.

When I shared this story with Nuwell Benyamin (Bektas), this is what he had to say:

“He He funny.. my father showed me Hassana some years ago when we went to Turkey. It was the first time. From there at night we could see the lights of the houses from Zakho.”

There… the connection had been made. History had unfolded, yielding itself to be captured through a song, a lyric, a note, and an honest message. This review had written itself, and it was a matter of destined time until it would find its way into publishing. But first, a star had to be born, drumming his tourayeh sounds, ignited by zourna, from.. not quite Hakkari, but Belgium.

“I have set my rainbow in the clouds, and it will be the sign of the covenant between me and the earth.” Genesis 9:13

On Nationalism
“Oumtanayen” is the first word by which Nuwell describes himself. “My family is from the Assyrian village Hassana, Tur Cudi, in Southeastern Turkey.” “It's one of the few Christian villages where the Assyrians survived the genocides.” The infamous Hassana is well known for being the last pure Assyrian village whose population was forced out of Turkey in the mid 1990’s. (http://www.amnesty.org/)

“The legends tell that Hassana has been destroyed from the ground seven times. But that the Assyrian population has built it up again. The myth says that seven fathers around Mesopotamia came and settled down in Hassana. My grandfather told my father once that their grandfather was one of the seven and that he was from Tyareh.”

“More power to a young man who knows his roots,” I thought quietly to myself.

Humble Beginnings
Nuwell is born in Belgium, the youngest child of a family of two brothers and two sisters. He refers to himself as the “only” one born in diaspora and does not feel himself to be Europeanized because he lives in a very strong cultured Assyrian family.

Nuwell’s interest in music began at the age of nine, playing Saz (Tamboura). From there, he progressed to Darbekke (Oriental drum). His early stardom consisted of songwriting and live performances at weddings. By the age of 12 he was performing solo, booked for events.

“Meanwhile I also learned to play keyboard. So from this age to today I've been playing and singing at parties, weddings, cafes and so on.”

On Music
“I have a very deep taste of music. I love to sing about sorrow and feelings. I have a very deep "village-style" music. I also sing a lot with tempo in, for example, weddings. I also sing in Turkish and people from Turkey all around Belgium contract me for singing when I'm not busy with other performances.”

Qasha Tuma Bektas is a very important person to Nuwell. Aside from being his father’s uncle, he once played a fierce and responsible role in rebuilding and uniting the village of Hassana. When forced to leave during the final exodus of the Hassaneans, due to a civil war between the Kurdish Guerillas PKK and the Turkish State, he refused to leave Mesopotamia. Therefore, when the rest of the village evacuated Turkey, he moved his family to Midyat and continued preaching there to the Christians until his death in 2005, en route to Belgium.

Moving further into our conversation, here are Q&A’s with Nuwell Benyamin (Bektas)

Beginning of Q&A

Q ~ What is your message to the international Assyrian community in this CD?

A ~ My message for the Assyrian community is unity, peace, love and understanding. Never forget where you come from. Be proud of your Assyrians origin and identity.

Q ~ Did you write these songs in this CD? Who are the musicians and production company, anyone else you would like to credit?

A ~ With all my respect, in this album I would first of all like to thank my friend Yüksel Özsü who gave me his time and help. The people who helped me write my songs: Ashur Dülger, Simon Kucun and Besim Eksen. A big gratitude to my lovely brother and sister who supported me. And in this first album would I like to thank everybody that in anyway have been help for me. Bektas Productions is the producing company.

Q ~ On accent, the Assyrian language you sing in is a bit different than what today's, per say, Iraqi Assyrians speak, as an example Swadaya. How would you classify it, if at all?

A ~ In my text, I use exactly the accent we used in our village Hassana. The people from the villages around Hassana in Turkey understand it perfectly. It's like a mix between the Hakkarian and Nineveh dialects. More from the Nineveh dialect. It is old and typical village language.

Q ~ How do you relate with your CD and singing, to the overall Assyrian population in the world. Example: You mentioned that you are a very deeply subjected person, with heavy emotions. Personally, in my heart, I believe that you a have a message to convey, and in time you will be lead into what it is. It is more than you, your family... it's about the struggles of our people in Turkey. Would you agree? Myself, it made me cry because it is where my grandfathers are from. They uprooted during the genocide as they were being forced out of Hakkari, Turkey. I deliberately use the word are, because I believe that the soul manifests itself in a form of another human being to retell its story. Our forefathers did not have the chance to tell their stories of suffering. Here is your chance to walk back into history and to do it through music. How prolific!

A ~ Yes, my style of singing with heart and emotions has a lot to do with my origin. The facts of all my people have been doing to survive and live around there enemies. I am raised with a climate their emotions from the homelands have been deeply and strong.

End of Q&A

Nuwell Benyamin (Bektas) is the first Assyrian from Turkey whose path has crossed with mine. But in the past several weeks during our talks, I have come to feel that my extension of Assyrianism gradually moving past Iraq’s borders. I share a genuine love for my brothers and sisters on the other side of the mountains.

Growing up, I always thought that we were the only survivors of the holocaust at the turn of the last century. That when my grandfather’s generation uprooted from Turkey and settled in Northern Iraq, we were lucky to have outlived the invasions (spakhyateh) on our people. Needless to say, I was proven wrong in 1992 when my late father traveled back to Iraq, en route Turkey and had met countless Assyrians who spoke our language and continued to practice our customs. I had been proven wrong then, and I am being proven wrong, again, now as Nuwell shared with me that on the other side of the mountains in Turkey, our brethren were saddened and thought that we had forgotten them, after the majority of Assyrians fled Hakkari for the last time. Perhaps, this is why alongside his tourayeh sounds he possesses a very deep sound of sadness. To my personal ego, this proves that Tourayeh are survivors and that no borders (tikhoubeh) will separate me from my brother.

Mamo Tuma is a ‘message in a bottle.’ Its timeless classics carry from the land of our forefathers a history, legends, martyrs, fall, strength, and a hope… captivating audience who share roots in Hakkari. The message has been delivered, as I place the souls of my grandfathers to rest.

The CD is available online at WWW.BEKTASONLINE.BE

Featured in Qeenatha.com, Khabour.com, Bektasonline.be 

If ever was a man, whose humble beginnings resurfaced decades later, deserves induction into the Assyrian Lyric Hall of Fame, it is Orahim Lazar.

Born in Kirkuk, Iraq, Orahim Lazar began many of his social and national activities at the age of 18. He began his poetic work representing various topics while touring many European countries, before calling United States his present home.

Alongside writing in various Assyrian magazines and newsletters, he has produced countless Assyrian radio and television programs.  In Chicago, Lazar was able to single handedly revolutionize radio broadcasting. To his credit, Assyrian free speech has dominated radio broadcasting since the late 1980’s.

Orahim Lazar emerged into mainstream Assyrian music as a lyricist in the 1990’s, giving many red-carpet artists, such as Ashur Bet-Sargis and Linda George the hype of their career.  Adding to his poetic resume, he released his first album "Sighs of A Stateless Man" in Chicago in 1989, featuring the famous “Sakhleh O’Koupeh,” among many other national and love poems.   

Divine Feelings
In a class of his own, Orahim Lazar has unleashed a new genre of Assyrian poetry.  His latest, Divine Feelings, a double-CD collection, features love and social-national poems, touching every stone in athra, from Ashiratyeh of Tyareh, Tkhoma, Jilu, Baaz and Alqosh, while prolifically expressing the Assyrian culture.  Joined by Sharosina Chamaki of TV Ashur in love poems, Lazar has taken every man’s dream and fantasy and placed it on the second disc.

Martyrdom
"Sahdouta D’Youbart" ~ An emotionally-sadistic memoriam of Assyrian Sahda Youbart Shlimon, whose martyrdom, along with Sahdeh Yousip and Youkhanna fuel-charged the onset of the Assyrian Democratic Movement’s, well, movement ~ jouja oumtanaya.  Yet, the inspiration of the poem cultivates the message that martyrdom for one’s national cause is never in vain.

Mhadyanan, Khda Oumta ~ A state of reprisal in which our nation is awakened to; that despite the anarchy, the emergence of a pure Assyrian is essential to balance the scales on both sides, one whose national identity is none, but Assyrian, relinquished from all prejudices.

A Feminine Touch, Always Revered
"Qola," delivered by Sharosina Chamaki, draws from the heart of every woman whose battle with broken promises has been delivered at the hands of a deceived love. Similarly, "Ayneh Dimane," conceived from a man’s perspective, like his counter-part (nish-sha), holds his woman in high regard and rests his hope for life and prosperity on his love for her.

"Yimma" ~ In the Assyrian culture, without a doubt, motherhood is hailed as the highest role that a woman will ever take on in her lifetime. The symbolism of fertility, abundance, and articulation of an Assyrian mother is depicted even in ancient Sumerian history, that of the goddess Innana, transcending into the modern woman, wherefrom her ub-ba nurtures her family with love.  Unquestionably, among the greatest gifts that a female possesses is her gift of giving (abundance), and when a woman gives, she gives of herself.  But above all, she uses her creativity, and is held at dire responsibility to teach her children their national identity.

Ashur Bet-Sargis on Orahim Lazar
"The long awaited project of beautiful poems by my friend and our beloved Orahim Lazar is a master piece that we will treasure for years to come."  Ashur’s own “Hala Leet,” penned by Orahim Lazar, made #1 on the Assyrian music charts in the 1990’s.

Lazar is a respectable head honcho for some of the most famous Assyrian artists, whose lasting songs for the last two decades have been top hits.  Linda George ~ Galiya and Atra Litlee, Ammanoel Bet-Younan ~ Aywateh, Albert Mansor ~ Sara D’Ramshanee, Salim Sefo, Elizabeth Oshana, George Chaharabakchi, and Lida Lawando.  Laith Yousif’s phenomenon was no surprise and the driving force behind the lyrics in his “Libbie Oldeelakh” CD was Orahim Lazar.  Track title “Libba w’Khouba” earned the #1 song in Baghdad Assyrian Festival in 2001, collaborating with Linda George.

Today, Lazar has established himself as a poet, lyricist, patriot and above all, a friend to many.  He lives in California with his wife Julie and son Barseen.  This production, by the way, is dedicated to the memory of Lazar’s late father, Zaya Lazar.

Featured in Qeenatha.com 

From pop-culture icon Talal Graish comes X Love, an album unlike anything you’ve ever heard before. Produced by Jam Music Productions, and featuring numerous notable writers and musicians, X Love is the result of the collision of two great creative forces ~ a surprisingly folklore-driven, lyrically-potent collection of songs to enlighten and entertain.

Throughout X Love, Graish’s own insightful voice is masterfully woven into perfect pop and folklore melodies. Giving Graish a hand on the project in an incredible lineup of heavyweight lyricists and musicians, including Ashur Bet-Sargis, Wilson Lilu, Macksud Ishaia, Sargon Esha, and Yousip Menashi.

Highlights include the poignant "Goreh D’Tyareh," penned by Amir Younan, with “Goza,” authored by Nabeel Graish, the brilliant “Darga D’Khane,” destined to become a classic folklore, also by Nabeel Graish, “Khubanekhwa" by Dawod Barkho, featuring duet vocals with Ramsen Sheeno, and closing track, "Athra D’Babi," written exclusively for this project by Dr. Benyamen Hadad.

In addition, there is Graish’s tight-knit musical ensemble ~ Dani Shamoon, Namir David, Robert Younan, Rami Youssef, Ashur Shlemon, Laith Yousif, Robert Ishak, Adel Graish ~ United States, and Eyup Hamis, Yasar Taner, Kempa Group, Bulent (Kirpi) ~ Istanbul, Turkey. "These guys are incredibly gifted in their own rights," says Graish, "but over the last few years, we've grown into something much more than the sum of our parts. We got into something deep, and I'm just knocked out by their ability to stretch and morph into whatever style I want to delve into."

Talal Graish, pronounced Gra-I-sh, is a native of Canada, whose birthplace is marked in Iraq, with origins in Alqosh ~ Aramaic for The God of Righteousness, the notorious ancient Assyrian village in Northern Iraq, known for its rich culture and history, predating Christianity, into Sumer.The village’s survival of thousands of years has a stronghold in Christianity, with infamous sites such as Rabban Hermizd Monastery, where it housed the original Patriarchal seat for eleven consecutive Patriarchs of the Church of The East. "Toma Tomas" ~ this song is inspired by the esteemed Assyrian patriot Toma Tomas." Graish said he exclusively chose this song and its title as homage to his origins.

The daring and spark infuse of Raweh, the soul of Assyrian sounds, in “Goreh D’Tyareh.” To date, Raweh is the oldest traditional Assyrian song, and the most difficult to sing, given its many ranges of octaves. Graish’s brave induction of Raweh in his melodies is a treat and a rarity, parting from, well, the usual “Mawal” that many of our recording artists seem to be fixated on. Raweh and Liliana, the then widely spread celebratory practices in the Tyareh region of Hakkari. Today, they are as equally cultivated in especially wedding celebrations.

"Olinweh, Olinweh, Olinweh… Da Thele B’Khanet Kaiad D’Be Hameka"

For Talal Graish, this new album represents the marriage between two Assyrian dialects ~ Athurnayeh o’ Caldanayeh. Known throughout his young career for unearthing great new sounds, this young talent has once again gathered an inspiring batch of songs collaborating with some relatively known artists. This album’s dedication, by the way, is to the Assyrian nation in Beth-Nahrain and throughout the world.

Combining these forces in the third release from this young Assyrian Hall-of-Famer, exclusivity is given to his genuine touch of musical talent, ever to bear the credit. Such fearlessness may be the result of the spirit and excitement of Generation X. The evidence can be heard throughout the 11-track album ~ savoring lyrics, enchanted melodies, and profound articulation of manifold Assyrian dialects mesmerizes the listener to continue to tune in.

In between albums and family matters, Talal keeps up his customary busy schedule within the circle of his family and friends. Since the release of X Love, he has been busy touring in California, Chicago, Canada, and throughout Europe. He is also scheduled to appear in numerous community and humanitarian projects to help organize benefits, and continue searching for great new material.

X Love bears heavy emotional lifting, is a reflection of Graish’s mindset.It keeps the kind of spontaneity that makes the music fresh and alive.

Visit album website www.talalmusic.ca

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