The prince charming of Armenian pop - Armenian Reporter

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The prince charming of Armenian pop - Armenian Reporter

Elyssa Karanian.“Our parents were the first hippies in Armenia.”A legacy of rockrockThe boys of Bambircarry their musicforward with newvisionsby Elyssa KaranianYEREVAN – It’s hard to write astory about a band whose memberspossess such a cult of personalitythat no single angle seems todo them justice. They are young,idealistic, unbelievably talentedmusicians from Gyumri who grewup and into the art world on thewings of their parents. They arerepresentatives of the Caucasus,bridging the East and West withArmenian Reporter Arts & CultureCopyright © 2007 by Armenian Reporter llcAll Rights ReservedContact arts@reporter.am with announcementsTo advertise, write business@reporter.am or call 1-201-226-1995music, lyrics, and style. They carryon a thirty-year musical legacywith creativity and pride. Theyare progressive, unique, addictingpresences in their own right.The boysThe lead singer and songwriter ofBambir is Nareg Barseghyan – ananimated, wild-haired actor whooozes verve and intensity. Hisvoice is emotive and erratic, and asthe songs build, his passion seemsto escape from him in the formof verses yelled or whispered orlaughed out. When he glides intohis technically perfect guitar solos,he is like a sketch of a person thathas suddenly come together onstage in a full-color image of himselfand his music and ideas. Hemasters the crowd.flutist Arik Grigoryan brings awiry, feisty energy to the group.His flute and shvi melodies attimes evoke the smooth, traditionalArmenian sound, at timesthe manic abandon of JethroTull’s Ian Anderson, who is amonghis biggest influences as a musician.With him always front andcenter, it is easy to be drawn towatching his incalculable movements– arms flailing, holleringand howling, percussing on tambourines,maracas, or his cheek.In some ways Arman Kocharyanis an archetypal bass player – subduedand focused – but he is astriking and rare stage presenceOn page C1: Hayko, known for his serenity, has captured the heartsof fans through his good looks, romantic ballads, and unique senseof style. From his number-one-selling albums to Eurovision, Haykocontinues to be at the top of his game. See page C7.C2 Armenian Reporter Arts & Culture 11/10/2007


Far left: Nareg,Arman, and Arikin Shushi. Photo:Anush Babajanyan.Left above:Dressed up inhonor of JohnLennon’s birthday,the boys put on anamazing tributeshow of Beatles’covers. Left below:Playing in Gyumri,alongside originalBambir members,the band and itsmusic takes on adifferent feel.who commands attention. Hiseyes, entreating despite his broodingappearance, are never flighty.His fingers move over the stringsbeautifully and it is mesmerizingto watch as he feels the music andplays with a concentration so effortlessthat you want to jump intohis bass and become a part of it.Coming from musical, theatricalbackgrounds, the boys are armoredin natural and developedtalent that make them a joy towatch and listen to, on and offthe stage. Nareg grins coyly andtells me that they started to playin 1983. “I say it like that becausethat’s the year we were born, meand Arman,” he laughs. “We grewup on that Bambir style, youknow?”Revolutionary originsThe name Bambir is derived froma bow-stringed musical instrument(also called a qemani) thatis played much like a cello. ButNareg wasn’t referring to growingup on the style of this ancientfour-stringed instrument, nor washe talking about growing up onthe style of his own band. Bambiris more than an instrument andmore than a band – it is a musicalhistory, a legend of Armenian musicand revolutionary thought andaction. It’s a philosophy, a legacy,a culture all its own. It is rock inits element.In 1969, Angin Karer (PreciousStones), the first Armenian rockgroup of its kind, or perhaps atall, was formed in Gyumri, Armenia’ssecond-largest city, thenknown as Leninakan. Gagik “Jag”Barseghyan (nicknamed for hislove of the Rolling Stones) andRobert Kocharyan, fathers ofNareg and Arman, explored andexperimented with the arts, creatingmusic and performing intheatrical rock plays such as “Love,Jazz, Devil” (1976). “The combinationreally started somethingin the art world,” Nareg says, excitedly.“When they first startedto rehearse everyone was sayingno one would come to the showsor listen to the music because itwasn’t close to the Soviet peopleand problems of the time, butthen they did like four shows inone day. It was revolutionary.”Running with the momentumbuilt from their endeavors in thetheater, and after winning anaward at the International MusicFestival in Yerevan (1977), theyformed the group Bambir in 1978.Blending traditional Armeniancompositions, Celtic and medievalsacred sounds, and Western rockinfluences such as Jethro Tull andthe Beatles, this innovative bandsoon made a name for itself as oneof the best folk-rock bands in theSoviet Union.In 1978, when this first generationof Bambir started playing,they brought Western cultureto Armenia in a musical capacity.“They were playing regularconcerts in Gyumri at that time– covers,” Nareg reminisces. “Hearingthe Beatles from the stage, itwas just a phenomenal thing.”Perhaps too phenomenal for itsArmenian Reporter Arts & Culture 11/10/2007C3


Above left: Armanand Arik sharea mike duringthe first set ofBambir’s showat Stop Club inYerevan. Aboveright: Armanembodies JohnLennon for thenight, singing andacting the partwith energeticreverence.Right: Club 12 inYerevan. Dr. Naregtakes a break fromhis stage theatrics.Photo: AnushBabajanyan.time during the band’s early stagesin a Soviet republic. “It was verypagan rock, not nationalistic. Itwas different,” Nareg says. But asthey began to play more of theirown compositions – drawing onother, perhaps culturally morepersonal, musical influences suchas Komitas – a loyal fan base developed,not only in Armenia but,in time, internationally as well,throughout other Soviet republics.Bambir won the Folk MusicAward at the International Festivalin Lida, Belarus, in 1982. Theycontinued their involvement inthe theater, with stage plays androck operas such as “Jungle BookMaughly” (1986), and continuedto tour and present their musicto international crowds in Russia,Georgia, Baltic countries, and theUnited States.The sound that Bambir had createdwas unique and Jag’s lyrics– his keen perception and cleverlyapt expression of his ideas –proved the capacity of the band tobe a truly monumental presencein the music world.“We are the sons of a newgeneration...”At only 24 years old, Nareg, Arman,and Arik are talented beyond theiryears; they are so natural whenthey play, it’s hard to imagine atime when they weren’t this way.Nareg remembers it, though, andsmiles as he talks about what wasperhaps the true beginning of thisnew generation of Bambir: a fatefulday 1992 when the older Bambirwas on a tour in the UnitedStates. Back in Gyumri, instrumentsin hand, Nareg and Armandecided to put together a surpriseperformance for their fathers’return. Nareg retells the story,laughing: “They came in and la lala we started to play and my fatherlooked at me and said, ‘What shitmusic! Stop playing, I’m tired!’and encouraged me to take up agriculture.”Not to be discouraged, however,the boys (joined, soon after, byArik) continued to play and createmusic, developing a sound thatwould carry Bambir into a new era.Moving forwardToday the boys put on shows thatare frequently surprising as theybuild on themselves and growinto full-blown string-ripping,cymbal-crushing, theatrical rockperformances that are seriouslybrilliant but undeniably funny.There are no straight faces in anyof their crowds, only the giganticgrins and glossy eyes of pure delightas each person connects tothe music, and the boys, in an absolutelystartling way – a phenomenonthat is becoming increasinglyrare in music these days. Theirsis a pure and raw and honest sort,with no pretense and hardly anyarrogance (given their incredibletalent), just serious music with anedge of humor that forever setsthem apart. They have somethingthat’s impossible to ignore.Nareg acknowledges this qualityand attributes it to their roots inthe hardscrabble city of Gyumriwhere, despite their tragedies andhardships – including the earthquakeof 1988 – you may find someof the happiest and most generouspeople in Armenia. “Gyumri isa city of humor and in many waysthis enters into our music,” Naregsays. “When you play without humornothing can be, nothing cancome of it. The emptiest artistsare without humor.”C4 Armenian Reporter Arts & Culture 11/10/2007


The humor that Nareg speaksof, however, is fantastically balancedby an earnestness thatcomes from having serious ideasand the creative ability and deeplyrooted desire to present themto the public. One of the mostimportant aspects of the themusic and the band, in Nareg’sopinion, is the fact that they representthe Caucasus. “We shouldrealize that we’re in between,” hesays matter-of-factly. “Our faces,our belonging . . . it’s our music.There are thousands of other cultures,but, representing the Caucasus,we connect the West andthe East.”They connect the past and thepresent, as well, as they continueto carry the legacy of Bambir intothe future and beyond Armeniaand the Caucasus. It’s easy to hearthe influences of the past and theirparents on their music but there’sa perpetual forward motion thatpervades their style and their lyrics– an idealism, a philosophy, agoal for this new era. They areundeniably budding rock stars asthey play with the audience andmove through the crowds and explorethe territory of being an internationalmusical presence.The musicSince they first started playing seriously(Arman says: “It’s a veryserious decision to pick up a guitarand start to play and make aband, so, in that sense, we’ve beenplaying seriously since we were9”), Bambir has written a plethoraof unique material, recorded andproduced their own albums, andtoured Iran, the Caucasus, Europe,and America. “Our music is alwaysnew for other countries,” Armansays, clearly reviewing thoughtsin his mind as he speaks. “Becausethey drink different water, breathedifferent air, and see differentthings. But regardless of what youthink, the music appears, it’s thereto be seen, to be felt. We’re nottrying to make anything beautifulor shiny, or make other people seethings in our music. It’s just comingfrom us. We’re not just playingit, we’re feeling it. So peoplearound the world not only like ourmusic but can see and feel thatthere is something profound anddifferent in it, and they can connectto it in their own way.”This connection becomes obviousthe first time one experiencesBambir live. The shows explodewith a wayward energy, as the boyscommunicate with the audienceand vice versa, that manifests intoan anomalous essence that drawsfans back continuously. The musicspeaks (strongly) for itself but itis simultaneously equivocal, leavingmuch for listeners to actualizeor internalize on their own. Thiscreates a dynamic that can neverbe reproduced, a special bond thatis formed out of the interchangebetween stage and floor duringeach show.Discussing the ways in whichBambir is different, Arman takesa thought and runs with it, turningit into a beautiful monologueon music, meaning and the soulof the band: “We’re honest withourselves and with our music, andI think that’s the first thing, notonly for musicians, but for anyonewho is trying to say somethingto another person. . . . We’re tryingto be honest with each other,together, within the band, andthat’s how we make music. Wedon’t think about what we’re doinglike, ‘which genre are we in?’or ‘are we playing rock?’ Because,anyway, it’s all about love, nomatter what you’re singing about– art, our music – it’s a way tofind love in all the things that areAbove left:“Without humornothing can be...”Nareg acts out thelyrics to his songs.Above right:Arman interactswith the audience.Photo: AnushBabajanyan.Armenian Reporter Arts & Culture 11/10/2007C5


fucked up.” He pauses to catch upwith his thoughts, it seems, anddecides, “Yes, we’re different...and that’s where the music starts.That’s where everything starts.”Never singleminded in theirart or their endeavors, the boysare all experimenting with sideprojects in the art world, both ontheir own and for the band. Arik,for example is venturing into theelectronic vibe, mixing tranceand rock. “I want to do some newprojects,” he says before a show atStop Club in Yerevan, where theboys regularly perform. “I’m intothe idea of trance-Caucasian rock,”he laughs.But in the end its all about rockand this music that’s been created– this legendary sound and this legacyof a name and so much more.“Rock was a faraway thing forthis type of nation,” Nareg musesover a cigarette, reflecting on hisfather’s time. He pauses and inhales,“People were looking at it askind of an unnormal thing. I don’tknow . . . maybe they still are.” Buttoday, when this new generationof Bambir takes the stage, its impossibleto imagine rock in thiscountry without them. fconnect:www.myspace.com/bambirBambir LiveStop Club, Yerevan,Thursday, September 20They open the set with greatenergy. The club is tiny and thecrowd is almost on top of them,creating an interesting dynamic;everyone is a part of this showtogther. Arik goes into a riff onthe shvi and his flutters and trillsring over the bass line and thehigh-hat and even Nareg’s guitaras they jam.Gyumri, Monday,September 24Bambir comes homeI am seeing a completely differentband. Two of the original Bambirmembers are on stage, includingJag – Nareg’s father – and thevibe is completely unpretentiousand almost touching. You cansense the connection and the inspirationbetween them all. Thecrowd is completely in love andthe energy is corporeal.Club 12, Yerevan,Wednesday October 3Tonight they’re having fun again.Nareg is dressed up like a doctorand is dancing around like ajointless doll. Arik is like a spriteon stage – wailing and playing airdrums and smiling into the crowd.Their stage theatrics are at a pleasanthigh. Arman plays an entiresong sitting at the back of thestage with his head hidden behindthe projection screen. The crowdis in love again. At the end of theshow they come out and dancewith everyone and for a momentwe all feel a part of something pivotalin the music world.Avant Garde Folk MusicClub, Yerevan, TuesdayOctober 9 (JohnLennon’s birthday show)Tonight is a crowd like I’ve neverseen before at any Bambir show.Easily over 150 (but lost countat that), bobbing, throbbing, rollickingfans who are all in blissfulstates of drink and dance. Theband is in its element. Armansings most of the songs tonightand it’s like a gem in the set, hisvoice has a melancholy hopefulnessthat’s enchanting. Theymove seamlessly and humbly inand out of the spotlight with arhythmic modulation that seemsdecades in perfection – and maybeit is, or maybe it’s just theirdeep friendship and love foreach other that gives them thisconnection that pours into andout of their music.fThere were noempty seats in theGyumri theaterduring the band’shomecomingconcert.C6 Armenian Reporter Arts & Culture 11/10/2007


Betty Panossian-Ter Sargssian.Hayko has charmed his fans with his good looks, romantic ballads, and sense of style.The prince charming ofArmenian pop is Haykopopby Betty Panossian-TerSarsgssianYEREVAN – One would thinkthat after scoring the Best MaleSinger Award at the ArmenianNational Music Awards in 2006,Hayko had nothing left to prove.After all, this young singer haswitnessed a steady ascent to thehall of fame in the Armenian popmusic industry. He has alreadyrecorded four albums, which becameinstant hits and has had animpressive number of sold-outsolo concerts in Armenia and thediaspora.But no! This very determinedballadeer then headed to Eurovision2007 in Finland.Hayko spent the past year carefullymapping out the steps heneeded to take for his career.Following a sold-out concertin October 2006 at the VazgenSarkisian Stadium in Yerevan,Hayko released the soundtrackof a lengthy film productionMi vakhetsir (Don’t be afraid)directed by Hrach Keshishyan,and produced by the Armenia’sPublic Television. The song hechose to sing at Eurovision 2007was from the soundtrack of thatmovie.Armenian Reporter Arts & Culture 11/10/2007C7


On his way up he has charmedfans with his good looks, his romanticballads, and a definitesense of style.From classics to popballadsGrowing up a mischievous boywho liked to play in the streetwith his friends, Hayko did nothave any particular dreams of becominga singer or a star. “I neverintended to become a singer. Infact I wanted to become a jazzpianist,” he says over ice creamat the Marriott-Armenia café inYerevan. When I asked him hisage, Hayko didn’t disclose it,but said that his birthday ison August 25. “I always tellpeople that I sleep besidethe fridge so that I won’tage,” he joked. Regardlessof his age, musichas always been apart of his life.From his earlyschool yearsHayko startedtaking violin lessons.The gradualshaping of thefuture musicianwould take a moredecisive turn when he continuedhis high school studies atthe Romanos Melikyan musicschool. Then he continuedhis studies at the YerevanState Conservatory, aspiringto become a conductorand a composer in classicalmusic. Young Hayko soonfound himself playing thekeyboard in various popbands in Yerevan. At thesame time he was writingsongs for other singers.Singing happenedspontaneously. “Songsare born with singing,and then it occurredto me why don’t I startsinging some of myown songs?” he says.His transition froma wannabe classical musician to abudding young pop star happenedwith the release of his first videoclip for the ballad Im Ser (My love)in 1996. Meanwhile, he began appearingon stage as a singer at theState Theater of Song, under thepatronage of Arthur Grigoryan,widely known as the patron of theArmenian pop music industry.While waiting to become one ofthe most successful artists in contemporaryArmenian pop music,for some years Hayko enjoyed akind of second-tier level of fame.Participation in various musicalcontests and awards were accompaniedwith succeeding albums,and an increasing army of fans,mostly young females, in both Armeniaand the diaspora.Hayko has a very busyschedule where workwith new recordingsdominates most of histime.In 1996, Hayko began to appearon the stage of various Armenianand international music competitions.That same year he participatedat the Moskva 96 (Moscow1996) music festival and wonfirst place. It was at that festivalthat Hayko Hakobyan portrayedhimself simply as Hayko. “At thecontest we wanted to be rememberedby the name, too. ThereforeI chose to be known as Hayko, asimple and short name, easily remembered,”says Hayko. In 1997Hayko won first prize at the BigApple Festival in New York. In1998 he was acknowledged as thebest singer-songwriter at the Ayocompetition.His first album was released in1999. It immediately became a hitin Armenia. The very romanticalbum, Hayko Romance, includeda dozen of the most popular Armenianromantic ballads. “It hasbeen the shortest path to my suc-C8 Armenian Reporter Arts & Culture 11/10/2007


Hayko withsingers HasmikGarabedyan (l.)and Emmy.cess,” says Hayko. After years ofbeing nominated at the ArmenianMusic Awards, in 2003 he releasedhis Best of album on DVD, and gavehis first solo concert at the AlexTheatre in Glendale, Calif.Back home in Yerevan, Haykogave a solo performance in May2003 and recorded his Live ConcertDVD. In the same year he releasedhis first album authored by himself,Norits (Again), and receivedthe Best Male Singer Award at theArmenian National Music Awards.A year later, in 2004 Hayko releasedhis fourth album, Mi khoskov(In a word). Once again, hewas recognized as best male singerat the 2006 Armenian NationalMusic Awards.Hayko also is a music producerfor many pop singers. He composesand arranges music. Hehas written songs for Armenianpop singers Tigran Petrosyan, Sirousho,and Emmy, to mentionthree. He plans to expand his musicproduction as soon as his newstudio is completed. In spite of hishandsome looks, Hayko has yet toappear in movies, although it issomething he says he hasn’t activelypursued. “My input in thefilm industry is to compose songsfor Armenian movies,” he says.Among his collaborations is thesoundtrack of a new soap operaproduced by Armenia TV. “I havecomposed the soundtrack, andwritten songs to be performedby me and other Armenian popsingers.” He is currently workingon the soundtrack of yet anotherfilm, a love story being directed byHrach Keshishyan.Hayko has a very busy schedulewhere work with new recordingsdominates most of his time. Thissummer, while much of the cityhad escaped from the heat anddust of Yerevan Hayko was contributingto the dust, buildinga new studio close to his homein the Avan district of Yerevan.Hayko still lives with his family,but as soon as the building of thenew studio is constructed, he willmove there to live alone. “Naturallyit is something I always wanted,but I know that I always will bevery close to my family.”Lucky in love in theUnited StatesHayko is known for his serenity.His public appearances, on and offthe stage have always portrayeda cool image. However he is passionatein his “cool,” romantic, andcharismatic way. He is very mucha composed prince charming, “ButI am not that calm at all. I alwayslike to have movement aroundme. I am always doing something,”says Hayko.In the evenings he likes to spendsome time with his friends. “I loveArmenian Reporter Arts & Culture 11/10/2007C9


Right: Hayko at aconcert in Yerevan.Far right: Haykoat age two.Hayko, uponhis return fromEurovision inFinland. Photo :TV Mol.to go to cafés, restaurants, andclubs. I like good food. I play tenniswith my brother. I am alwaysin action,” he says.A sought-after bachelor, Haykoappears alone in public. “I amvery much unattached romantically,but I strongly desire to findmy love, get married, and settledown. Perhaps it will happen inthe United States. That countrybrings me luck in love, since Ihad fallen in love there and hada girlfriend,” says Hayko. He isdefinitely a heartthrob. He laughsself-consciously when I mentionthis. However, besides hisgood looks, he always maintainsthe profile of being a well-manneredand respectable man. “I ama common Armenian man, whorespects everyone. I was educatedto be like this. I always try hardto do everything that is right andsuitable for an Armenian man,”says Hayko.European tours followEurovisionEurovision was clearly the mostambitious project of Hayko’scareer. He was already a well establishedname before the contest.But why would a singer withhis status need to participate inEurovision? Hayko admits thatit was a very big risk. “Even myproducers asked me not to go toEurovision, because I already wasa well known singer and did notneed that. The responsibility ishuge, because you are representingyour country and it wouldhave been too bad had I not sangwell, or achieved a lower rank.”(He came in eighth.) However,Hayko thought that an opportunitylike that is given only once ina lifetime and wanted to live theexperience.“I was sure of myself,” saysHayko. “I had faith in my friendsaccompanying me. My producerArthur Janibekyan together withArmenia’s Public Television dideverything to ensure that it allwent well. My show was stagedby the well-known Alain Sichov. Ithink that we all had a dazzlingperformance because pop singersGoga, Tigran Petrosyan, Arthurfrom the Opera and Ballet Theater,and Ara Torosyan, a master in musicalarrangements, who are all myvery dear friends were by my side,”says Hayko.“Songs are born withsinging, and then itoccurred to me whydon’t I start singingsome of my own songs?”At Eurovision Hayko’s performancewould determine the futureof his singing career. “I wasvery well prepared. As soon as wewere in Helsinki, it became clearthat we had a good chance to competefor first place, because everyonewas talking about our showand performance.” Eurovisionlaunched a series of new concertsin Europe for Hayko. It providedthe young Armenian singer withthe heartthrob looks access to abroader audience, a European one.“I am invited for concerts all overEurope,” says Hayko.Hayko’s European tour will culminateby solo concerts in theUnited States at the beginning of2008. fC10 Armenian Reporter Arts & Culture 11/10/2007


The Zobian phenomenon(On the occasion of the fifth anniversary of his passing)by Aroutun PalianoperaI had not written anything for along time until my friend GerardSvazlian, who is currently a violinistin the orchestra of the SanFrancisco Opera Company, suggestedthat I write an article aboutthe renowned singer and soloist ofthe Bucharest Opera, Garbis Zobian.Gerard Svazlian had workedwith Zobian in his younger yearswhile he was a member of the YerevanNational Opera Orchestra.The temptation to write such anarticle was great, since G. Zobianwas paramount among all the wellknowndramatic tenors, as far as Iwas concerned.Inasmuch as I have been steepedin the traditions of classical musicand am familiar with the art ofpast and contemporary singers,Enrico Caruso, Gino Bechi, and G.Zobian have special significancefor me. God lavishly endowedthese singers with inimitable voices,which easily leveled the pathin front of them, like copiouslygushing rivers that are impossibleto resist. If talents are bornrelatively often, then phenomenaappear every couple of centuries.Suddenly a personality is born,who tops his predecessors whilepossessing their best characteristicsand experience. We call suchan individual a “phenomenon.”Such phenomena were Leonardoda Vinci, Bach, Paganini,Mozart and Caruso. The Peruviansinger Yma Sumac was a phenomenon,owing to the extensiverange of her voice. Caruso was aphenomenon because, prior tohim, mankind had not heard suchan unusually beautiful and powerfulvoice, which was capable ofperforming operatic arias of themost different nature, romances,Italian and Neapolitan songs. Carusoremained unique, althoughthe music business world proceededto present Gigli, Mario delMonaco and Mario Lanza to thepublic as the new Caruso.While the recording instrumentsat the beginning of thetwentieth century were primitive,they had become quite perfectedby the 1950’s and reproduced humanvoices more naturally. Bornafter Caruso was a new generationof talented singers, which lackeda “peak.” That peak was Garbis Zobian,whom God had graced withan exceptionally beautiful voice,coupled with obvious emotionalism,expressiveness and natural,vivid dramatization. In the caseof certain well-known singers,dramatization is created throughthe intensity of the voice or artificialtension, and with the use ofa microphone. Zobian’s voice wasGarbis Zobian inPagliacci (Canio).naturally endowed with dramaticcolor, and he didn’t need to exertartificial effort when singing highnotes. In all segments of his voicerange, the sound was symmetricaland smooth. Zobian’s voice canonly be compared to and competewith his own. Melik-Pashaev (Melik-Pashayian),principal conductorof the Bolshoi Opera of Moscow,described Zobian’s voice as“heroic tenor.” Heroic because itfreely gave renditions of the mostcomplex and difficult arias of operaticmusic: Othello, Canio, AndreaChenier, Radames, Cavaradossi,Hermann, Turidu, Manrico,and others.The purpose of this article isnot to comment on the singer’sperformances but to explain theZobian phenomenon.Was Zobian’s birth perhaps accidental?I would say no. The reasonis that the universe and all thephenomena being carried out in ithave been previously planned outArmenian Reporter Arts & Culture 11/10/2007C11


Garbis Zobian in Dame de Prague (Ghermann).Above: GarbisZobian (DonJose) and BlancheThebom in Carmen(1960).in detail. Contingency is the fruitof human ignorance.There are a few factors in thematter at hand. First, there werealready good-quality recordingtools in existence, which couldrecord the natural beauty of thehuman voice.Zobian was born one monthafter the Armenian Genocide.That unspeakable carnage, to allappearances, was condemned byforemost politicians, intellectualsand artists.God, who had generously endowedthis child, could not accommodateHimself to the lossof Garbis; therefore, He savedmother and child from inevitabledeath.It is undeniable that the mother’ssuffering and restless state ofmind had an effect on the formationof the young Zobian’s spiritualworld during the period he wasnursed by her. (So did her subsequentoral histories too.)Garbis Zobian in Othello.Garbis Zobian in Carmen (Don Jose).The second factor is that God hadgiven the Armenian people such talentedand well-known singers as PietroSacinari, who was of Armenianbackground, Armenag Shahmuradianand Arman Tokatian. The timehad ripened, and the next peak hadto be born. That was Garbis Zobian.For some, all this may perhaps seemstrange, but, for me, that is in conformitywith universal law. Zobianhad to be born.I’m glad that, in my early youth,I had the opportunity to hear thesinger from the stages of the YerevanOpera Theater and the largeconcert hall of the ArmenianPhilharmonic Orchestra. Subsequently,while working as editorof musical programming for theState Committee of Radio andTelevision in Yerevan, I becamequite familiar with the performingart of not only Zobian but alsoother eminent Diasporan Armenianmusicians.It is appropriate to note here theconsistent work done by the chiefeditors, Armen Hovhannisian andAndranik Chalgushian, and allthe employees of the Armenianmusical editorial department, inassembling the existing recordingsof Diasporan Armenians andmaking new ones.The writers of articles stating thatC12 Armenian Reporter Arts & Culture 11/10/2007


Zobian acting was so real that itwas uncanny were telling the truth.I can still picture Zobian as Josewith his partner, Sonia Kamernik,a soloist with the Sofia Opera whowas of Armenian extraction. At theend of the act, the curtain closedbut it quickly opened to the loudcheers of the audience. Carmenwas still in Jose’s arms. The singerhad to bring Zobian back to realitywith a deft movement of the hand,in order to remind him that the acthad finished.In a performance with the ArmenianPhilharmonic Orchestra,Zobian began with operatic ariasand songs of Western Europeancomposers, finishing with theworks of Armenian composers,demonstrating the capabilitiesand flexibility of his voice. His renditionsof Komitas’s “Kele-Kele”and “Hayastan” were quite impressive.The first is a tender lovescene, while the second is a majesticpiece expressing the hopes ofthe Armenian people, a source ofinspiration and the embodimentof patriotism. Notwithstandingthe singer’s dramatic voice, lyricismwas present in the first song,grandeur in the second. It was asif the singer was saying that hewas proud to be Armenian.Just as Niagara Falls spreadsout and tumbles down, displayingits beauty and might, so too doesthe “panorama” of the Zobianphenomenon open up before thelistener.Although opera lovers and distinguishedmusicians of EasternEurope and the Soviet Union werefamiliar with Zobian’s art, he wasdestined for the world’s mostprominent stages. What preventedhim from achieving internationalrenown? The jealousy ofmediocrities toward great figures.The Metropolitan’s impresario hadsuggested to Zobian to accept hisinvitation to sing at the New YorkMetropolitan Opera. The worldfamousconductor Herbert vonKarajan, upon hearing recordingsof Zobian made by the Czech companySupraphon, invited him for atryout in Vienna. However, sinceGarbis Zobian was not a memberof the Communist Party, unfortunatelyhe was not allowed to honorany invitation from the West. Thecritics of the British Opera andGramophone monthlies spoke withthe highest praise about Zobian,comparing him to Caruso. Afterall this, isn’t it a crime to bury theZobian phenomenon in oblivion?If talents are born relatively often,then phenomena appear everycouple of centuries.Zobian departed from this worldfive years ago, leaving us unforgettablememories. Today, the solewitness to his art are the recordingsof operatic arias and Italiancanzonets sung by him and producedby the Czech record companySupraphon, as well as thoseof a few Romanian and Armeniansongs kept in the catalogues ofRadio Yerevan.The Zobian phenomenon was aslap in the face to those who carriedout the Armenian Genocideand, generally speaking, despoticregimes.The only means of preservingthe memory of the Zobian phenomenonof the second half of thetwentieth century is releasing a CDof his recordings. Just as the worldknows the Italians through Caruso,Verdi and Paganini, so too must wemake our presence known throughthe likes of Zobian, Gohar Gasparian,Jean Ter-Mergerian, ParuyrSevak, Minas Avetisian and AramKhachaturian. These are the greatfigures, whose statues or bustsmust be placed in concert halls,opera theaters and public squares,so that future generations and foreignvisitors may know us.I appeal to all political parties,public and cultural organizationsof the Diaspora and Armenia alike,as well as individual music loversand persons, in whose veins flowsthe pure Armenian blood of HaikNahapet, Ara Geghetsik, GevorkMarzpetuni and Davit-Bek, to dowhatever possible to make availableto the public CDs of the recordingsof not only Garbis Zobian butalso the aforementioned artists. Itis my hope that the current employeesof Radio Yerevan too willnot refuse to offer their assistanceby continuing the worthy traditionestablished years ago. It is time totranslate words into deeds. This isan activity and a policy of benefitto the Armenian people.The author is a former supervisorof musical programming forthe State Committee of Radio andTelevision in Yerevan. ftranslated by Aris G. SevagFar left: GarbisZobian (DonJose) and BlancheThebom in Carmen.Left: GarbisZobian in Pagliacci(Canio).Armenian Reporter Arts & Culture 11/10/2007C13


My myrigKay Mouradianstoryby Kay MouradianMy myrig and I had an endearingrelationship. She never interferedwith my life, never held me backfrom exploring or living in manyparts of this glorious planet. AndI always returned home. My myriglived by a philosophy that you holdby letting go. Pretty remarkablefor this small 5-foot woman whosurvived the Armenian Genocide,whose life had been colored bythe horrors of the past, and whodwelled on the loss of her familymembers who had perished at thehands of the Turks. Then one daythat dark shadow was gone and hertransformation is quite a story.In 1988 I had gone to Aleppo,Syria, to search for the family thathad given my myrig refuge fromthe Turks. Incredibly, I found theone remaining descendant. Bornafter my mother had left Aleppo,the handsome woman knew allabout the 14-year-old Armeniangirl, Flora, who had cared for hertwo sisters. Delighted to meet me,she gave me a gift I still cherishtoday – photos of her sisters, hermother and of her father, a kindman who treated my mother asone of his own.The day after our extraordinarymeeting, I received a call fromhome. Myrig was back in the hospital.I left for Los Angeles.Myrig had already had threeprevious trips to death’s doorand to the amazement of all, includingher doctor, she managedto survive those precarious episodes.But this time, when I sawmy mother on that hospital bed, Iwas sure her time had come. Shewas deathly frail.When she saw me she tried tosmile, but was far too weak. “Idon’t know why I didn’t die,” shesaid, her voice barely audible.Kay Mouradian’s mother, who said,“Hunger is a pain that never sleeps.”I, too, wondered. I would haveexpected her to embrace the releaseof her worn-down body, especiallyafter having been so closethree times in the previous fouryears. Or did she know somethingI didn’t? I leaned in close and said,“Mom, do you think you will dienow?“It doesn’t look like it,” she said,her voice cracking and her face reflectingher own disbelief.Somehow she knew.Two days later, when I enteredthe cardiac care unit I was surprisedto see Myrig sitting up inbed, unattended. The day before,she couldn’t turn her head withouthelp. But when she saw meapproaching she shouted somethingin Turkish, a language shehadn’t spoken in more than fiftyyears.I was startled. She was filledwith energy. And why was shespeaking Turkish, the languageof those she hated? “Mom, I don’tunderstand you,” I said, trying tocalm her. “Speak to me in Englishor Armenian.”She kept shouting in Turkish,and I began to panic. What if shecontinued to speak only Turkish?Would I lose contact with her forever?Could I retrain her brain tothink in English?“Mom,” I said firmly, “repeateverything I say.” I went throughthe entire English alphabet. Sherepeated each letter dutifully, asif she were in school following ateacher’s instructions. We countednumbers and she repeated those inEnglish. But she started to shoutin Turkish again with an Englishor Armenian word in the mix. Istruggled to understand. The bestI could comprehend was:“They took my education,” sheyelled.“They took my family!“Do you know what it was like?“I went crazy!”She looked straight into my eyes,said loud, and clear in English.“The bastards!”Even though there were momentswhen I felt panic, othermoments like this one were justplain comical. I couldn’t hold backa laugh. I had never before heardher use this crude word. Andthroughout this wild scenario,even though she was shouting inTurkish, she appeared to be joyful.“Mom, are you happy?” I askedtrying to understand this phenomenon.“Yes,” came her emphatic reply.“Why?”“Because I’m awake!” she saidwith authority.I found her choice of word intriguing.I would have expectedher to say, “Because I’m alive.” ButI had a suspicion of what mighthave happened.With my keen interest and yearsof study in eastern philosophy, Iwondered if she had crossed overinto another plane and witnessedthe Armenian Genocide from ahigher, impersonal view. Hadshe gained an understanding ofthe horrific karmic debt the perpetratorshave to pay? And hadC14 Armenian Reporter Arts & Culture 11/10/2007


she been given an opportunityto release her own intense hatredof the Turk? Was that hatred releasedwith the strong expulsionof her anger as she shouted, “thebastards,” a word not in my oldfashionedmother’s vocabulary?I’ll never know for sure, but I canstate for a fact that my myrig wasso loving after this fourth brushwith death that she couldn’t harborhatred, not even toward theTurks. Love poured out of herheart, like a flower releasing itsperfume. Everyone around herfelt it.But this was not the only bizarreincident during my mother’slong illness. Her second bout withcongestive heart failure in 1986was also a stunner. With her heartlaboring in cardiac care, her doctordidn’t expect her to survivethe night. Three of us sat at herbedside, waiting. Myrig had beenunresponsive. Then she started tospeak.“Do you know why I’m still here?”she asked, sounding as if sheknew a great truth. She lookedat my cousin and said, “becauseyou don’t have any children.” Sheturned toward me and again said,“because you don’t have any children.”Then to my nephew sittingnearby she said, “And you don’thave any children. If I died no onewould know.”“They showed me a lot of pictures,”she continued.I wondered who the “they” were.I knew people with near-deathexperiences claimed to view theirlives at the moment of death. Wasmy mother sharing the same kindof vision with whoever the “they”were?She looked at my cousin andsaid, “Your mother was there.” Hismother had died thirty years earlier.She mentioned seeing an Armenianfamily who was a karmicmirror of her family and told usprophetic things that would happento members of our own family.Two of them have already cometo pass.Armenian Reporter Arts & Culture 11/10/2007“They showed the afghans,” shesaid. She had made afghans overthe years for everyone: relatives,neighbors, my friends, her friends,and my sister’s friends. Interestingly,after this vision she madethem specifically for disabled veterans.She turned her gaze to me.“You’re going to write a book aboutmy life.”“No, mom, not me,” I said. “Maybeyour other daughter will. She’sthe real Armenian in the family.”“No! You are! And you’re going tobe on the Donahue show!”The Donahue Show! In 1986 Donahuewas the king of talk shows,and she never, but never, watchedthat program, and I immediatelydismissed that statement as delusion.Then she ended her little speechwith, “They said it was my choice.”Now, that sentence gripped myattention. I’ve spent my adult lifetrying to make right choices, and itis not ever an easy thing and nowmy mother had made the choiceto stay on in defiance of her body’sfragile and deathly state. She hadmore to do before she could let go.I just didn’t know it at the time.Against the odds she rallied anda few days later was released fromthe hospital. In the middle of herfirst night home I heard her stir.I rushed into her bedroom andturned on the light. There she satin bed, her face absolutely radiant.She gave me a huge smile. “Do youknow what life is all about?” sheasked, not waiting for a reply. “It’sall about love and understanding,but everyone’s brain is not the same,so you help when you can. That’swhat life’s all about.” She smiled,laid herself down and went backto sleep. I will never forget thatnight.The next day she again couldn’tmove without help.I had dismissed much of her visionon that hospital bed as delusion.I certainly had no plans towrite a book about her or the Armeniantragedy. My mind was focusedon researching materials forexercises that stimulate the body’s“chi,” and I had been accepted tostudy at the Acupuncture InternationalTraining Center in Beijing,But what was happening to mymyrig was remarkable. I began toread about events that happened inthe Ottoman Empire during WorldWar I and became overwhelmed. Ihad not known the depth of theArmenian tragedy, and I began tounderstand my mother’s heartbreakingscars and those of Armeniansurvivors everywhere. Now Iknew my mother’s story needed tobe told, the whole of it, includingthe blessing that was granted herin her last years.I set aside my plans to study inChina to write my mother’s storyas a fictionalized memoir. Not realizingthe depth of the necessaryresearch, the nuances of writingfiction, or how many years it wouldtake, I had to write about this littlewoman who kept escaping deathand instead became more alertand more loving each time. Mymyrig taught me that when negativematrices like hatred and angerno longer rule the heart, streamsof fragrant love pour out of everycell in the body. She shined like athousand suns.fKay Mouradian’s fictionalized memoir ofher mother is called A Gift in the Sunlight:An Armenian Story and can be orderedfrom www.garodbooks.comKay Mouradian’smother crochetingan afghan.C15


Naush Boghossian.Le Mur de LaPropriete, 1957,oil on canvas50 x 60cm.Carzou represents acentury through his artcanvasFrench-Armenianartist’s unrivaled styleby Naush BoghossianGLENDALE, Calif. —The art communityis celebrating the work ofpopular French-Armenian artistJean Carzou, on the year he wouldhave turned 100.Seven years after his death atthe age of 93, Carzou’s paintings,drawings and watercolors will beon display through the end of themonth at Stephanie’s Art Galleryin La Canada, Calif. – work itsartistic director says reflects theconscience of the 20th century.Carzou’s art, which graces museumsin France, Russia, Australia,Israel, and Egypt among othercountries, remains as relevant asever in a world that continues tograpple with war, ethnic strife,and the ever-increasing influenceof technology.But the continued appreciationof his work is perhaps the greatesttestament to a man who neverdeserted his faith in humanityand nature; his art embracing thehope that light and peace are presenteven in the darkest creations.“Springing from somewhere,life will always bud again,” as describedby Grigor K’eoseyan in hisbook Carzou: Mogakan ashkhari menkarich’e (translated into Englishby Ara Kalaydjian).Born Karnig Zouloumian onJan. 14, 1907, in Aleppo, Syria,Carzou grew up in a volatile andrevolutionary time. He saw twoworld wars, economic depression,the Cold War with its threat of nuclearannihilation, and the rapidadvancement of technology.Although he escaped the 1915Armenian Genocide, the eventbecame the source of a recurringtheme in his work: desolation andsolitude. And though he was notagainst progress, he was also consumedby the increasing influenceof technology on modern life.Carzou said of progress, “Themachine cannot change humandestiny; and I believe firmly thatby distancing himself from nature,man actually departs fromtruth. . . . I see a great many captives,but very few happy people.”Carzou’s first significant brushwith art came at the age of nineafter the death of his father, whenhe and his mother took over hisfather’s photography business.He later studied architectureC16 Armenian Reporter Arts & Culture 11/10/2007


in France, but he was constantlypulled to drawing. He won manyprizes and during financially difficulttimes, he supported himselfwith his passion by drawing caricaturesand political cartoons forlocal newspapers and magazines.He started to make his mark onthe art world in his early 20s andby the 1940s he was well known inthe field.According to K’eoseyan, Carzoudidn’t belong to any school of art,dabbling in a range of movementsfrom naturalism to cubism, surrealismto imagery and back to thenaturalist art movement.“When we study Carzou’s workin its entirety, we observe that itsevolution – with all the inherenttransmutations – forms a circularcourse, and that the artist oftenreturns to his original point of departure,enriched by maturity, experienceand crystalline profoundnessattained during the decades,”K’eoseyan wrote.But Carzou was most comfortablein naturalism, stemming fromhis belief that nature transcendsman, and that its ability to live onand regenerate is a testament toits profound truth.Most of his work is markedby the presence of women. ForCarzou women represented peaceand the rebirth of mankind, incontrast to the wars and machinescreated by man.“She is everywhere, in every period,the commanding figure, indivisiblefrom Carzou’s universe andits distinctive characteristics. TheCarzou woman . . . More accuratelya goddess,” K’eoseyan explained.Though Carzou was primarily apainter, his art is not limited toworking on canvas. He worked ontextured, unusual surfaces includingporcelain, tapestries, and ceramics.His body of work includes departuresfrom traditional paintingsto illustrating books bywriters including Albert Camus,Shakespeare, Rimbaud, and ErnestHemingway and even helpingdecorate the ocean liner “TheFrance.”Carzou gained instant fame in1952 for his set designs and costumesfor the Comedie Francaiseand the top ballet and opera housesof Paris, including the ParisOpera, and the Harkness DanceCompany of New York.Though he did quite a few stagedesigns, Carzou admitted thatthey took too much time from hisother creative endeavors, so hedecided to return to his paintings.At the age of 81, Carzou completedpainting the walls of achapel in the south of France. Hepainted the Apocalypse of SaintJoan in the Chapel at Monosquein Vaucluse, France. This chapelbecame a tribute to the artistwhen in 1995 it was dedicated asthe Museum de Jean Carzou.He even left an indelible markin the artistic world when in thelate 1930s his work took on color.He created a distinct shade of emeraldblue and later in his careera distinct shade of deep, flamingred, known today as “Carzou Blue”and “Carzou Red” respectively.The artist named one of the 10major painters of his generationin a 1955 survey conducted by theConnaissance des Arts magazinewas primarily influenced by music– especially Armenian music– which inspired him to paint.Carzou had more than 100 soloexhibitions all around the world,including one in 1943 when hesold 30 of his 40 canvases in oneevening.His work was so prominent thatin 1976 he became the first livingartist to have one of his drawingsappear on a French postagestamp.But while his work appealed tothe public, Carzou was not embracedby art critics, according tothe August 2000 obituary in theLondon newspaper, The Independent.La Reine, 1972,oil on canvas65 x 54cm.Armenian Reporter Arts & Culture 11/10/2007C17


Fondation Carzou.Femme Devant lePort, watercoloron paper.See the showIf you live in Southern Californiayou will be able to attendthe exhibition in La Canada inhonor of Carzou’s 100th birthday,with opening night on FridayNovember 8 from 6 to 10p.m. The exhibition will continueuntil November 30, Mondaythrough Saturday, 10:00–5:30,at Stephanie’s Art Gallery. Admissionis free.Stephanie’s Art Gallery is locatedat 466 Foothill Blvd. in LaCanada.His body of work, which continuesto be celebrated seven years afterhis death, remains proof of anartist who explored his passion incountless mediums and refused tobe pigeon-holed by art historians.“I detest Picasso and Cezanne.They are responsible for the decadenceof art,” he said in his acceptancespeech as a new memberof the Academie des Beaux-Arts inParis in 1977. “They want to classifyme – romantic, fantastic, concretegraphic. . . . That’s not me. Mypainting cannot be defined.” fconnect:(818) 790-4905www.stephaniesartgallery.comC18 Armenian Reporter Arts & Culture 11/10/2007


No reason to keep up with the Kardashiansreviewby Adrineh GregorianWelcome to a world where everyonehas silky long brunette hair,Range Rover SUVs, and a smalldog. No, this isn’t the parking lotof a private Armenian school inSouthern California; it’s the newreality show called Keeping Upwith the Kardashians, on E! EntertainmentTelevision (Sundays at10:30 p.m.)At the center of the show isKim Kardashian, daughter of thelate defense attorney Robert Kardashian,who became famous forhis association with O.J. Simpson.The Kardashian name obtained anew wave of notoriety when a sextape featuring Kim was widely distributedearlier this year.Capitalizing on this newly foundfame, Keeping Up captures the lifeof famous-for-being-famous socialiteKim and her rambunctiousfamily, complete with Olympicgold winning stepdad Bruce Jenner,mom/manager Kris Jenner,and siblings Kourtney (28), Khloe(23), Robert (20), Kendall (11), andKylie (9).Of the staggering 10 childrenbetween Bruce and Kris, sevenare featured on the show jugglingtheir privileged lives and careers.The Kardashian women stay busyoperating their high-end clothingboutiques, Smooch and Dash, inthe affluent Los Angeles suburb ofCalabasas, while Robert, Kendall,and Kylie just try to be normalkids.Kim recently celebrated her 27thbirthday in Las Vegas, solidifyingher place as the “it girl” to watchout for. However, this programshows a less promising future. Inthe sea of reality shows, KeepingUp does not rise to the surface.Keeping Up is a weak derivativeof earlier reality series featuringfamous families and remains consistentwith the textbook formula:a nice house, dramatic mother,clueless father, and siblings thatbicker in a sea of small dogs.The show may be “unscripted,”but each episode is a choreographedself-contained train wreckwhere family members make up acast of quirky characters who amplifytheir personae for airtime.The womenFirst, there is the sultry one, Kim.She’s gorgeous and stunning, nodoubt. Then there are the twosisters, Kourtney and Khloe. Inthe same vein as Drizella andAnastasia (Cinderella’s stepsisters,remember?), are neither aspretty nor as famous as Kim. Butdon’t get the wrong impression:the Kardashian family is a groupof lookers. Most noticeably camera-starvedis their mother, Kris,who usurps the limelight from heryoung daughters. Finally, thereare the two adorable little sisters,Kendall and Kylie, following inthese debaucherous footsteps.The menBruce Jenner is typecast as “Mr.Mom,” the sensible one. Unassumingbrother Robert Kardashian, Jr.,seems the most normal, not appearingin most of the shots, andthus not having a chance to fake itfor the cameras. Finally, famousfor-being-famousstepbrotherBrody Jenner, a seasoned realitystar who knows how to make realityTV look marginally real, makesa few guest appearances.Topics range from Kim posingfor Playboy, taking sexy photos,contemplating a sex tape scandal,and hiring a sexy nanny – allin the first three episodes. Restassured, this show is not meantsolely for 13-year-old boys with noaccess to the Internet, but I’ll stickto the Discovery Channel to learnabout how animals procreate.Bordering on pedophilia, scenesshow the adolescent little sisterspole dancing, making cocktails,and pretending to be on GirlsGone Wild. I consider myself aflaming liberal, but finding humorin juxtaposing young girls withadult actions is crossing way overthe line.What made reality TV such aphenomenon is the ultimate guiltypleasure – getting a peak insidehow people live. The Osbourneswere successful because they werekitschy and oddball, yet at the endof the day, they were a family youcould relate to, with boundaries.I’m not passing judgment on theKardashians’ off-camera lives, butusing children for shock value entertainmentis deplorable.Though the show sheds light ona family bound together by theirblunt honesty and salacious humor,the Kardashians surpassnormality making this as contrivedreality as Flava of Love.Understandably, the entertainmentfactor gets people tuningin, but the staged scenes, amateuracting, and camera hoggingare disengaging. I would preferto see a more natural look insidehow this modern-day BradyBunch lives.Keeping Up won’t be winningEmmy nominations any time soon,but that’s not their goal. The Kardashians’aim is to earn ratingsand market themselves. For that,they walk away winners. A showlike this is a brilliant brandingmove in an era of oversaturatedcelebrity figures.As for me, after watching thefirst three episodes I had to readthe United Nations Geneva Conventiontoreinvigorate my IQ. fdon’t connect:www.eonline.comTo remind yourself that TV can be doneright: www.current.comArmenian Reporter Arts & Culture 11/10/2007C19


12 November 13 November 14 NovemberMonday Tuesday WednesdayEST PST Monday4:30 7:30 Good Morning, Armenians!5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 PS Club7:35 10:35 Cool Program7:55 10:55 The Making of a Film8:30 11:30 The Armenian Film9:40 12:40 Music Videos10:15 13:15 Exclusive10:40 13:40 The Week11:05 14:05 News in English11:20 14:20 Cartoon12:00 15:00 Teleduel12:55 15:55 Music Videos13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial14:55 17:55 News in English15:10 18:10 Suspects - Serial15:55 18:55 Music Videos16:05 19:05 In Reality16:30 19:30 Seven Women - Serial17:15 20:15 Soul Mate - Serial18:00 21:00 Express18:30 21:30 News in Armenian18:50 21:50 Unhappy Happiness - Serial19:20 22:20 When the Stars Dance19:45 22:45 The Making of a Film20:20 23:20 The Armenian Film21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 What Went Wrong23:45 2:45 Exclusive0:05 3:05 Cartoon0:45 3:45 When the Stars Dance1:05 4:05 Yo-Yo1:25 4:25 The Week1:50 4:50 Blitz2:05 5:05 Express2:30 5:30 Seven Women - Serial3:15 6:15 Women in Love - Serial4:00 7:00 In RealityEST PST Tuesday4:30 7:30 Good Morning, Armenians!5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Unhappy Happiness - Serial8:30 11:30 When the Stars Dance8:50 11:50 Mosfilm10:20 13:20 Soul Mate - Serial11:05 14:05 News in English11:20 14:20 Cartoon12:00 15:00 Late at Night13:00 16:00 Music Videos13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial14:55 17:55 News in English15:10 18:10 Suspects - Serial15:55 18:55 Music Videos16:05 19:05 In Reality16:30 19:30 Seven Women - Serial17:15 20:15 Soul Mate - Serial18:00 21:00 Express18:30 21:30 News in Armenian18:50 21:50 Unhappy Happiness - Serial19:20 22:20 When the Stars Dance19:45 22:45 Mosfilm20:50 23:50 Music Videos21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 What Went Wrong23:45 2:45 Exclusive0:05 3:05 Cartoon0:45 3:45 When the Stars Dance1:05 4:05 Jokes1:25 4:25 Cool Program1:44 4:44 Blitz2:00 5:00 Express2:30 5:30 Seven Women - Serial3:15 6:15 Women in Love - Serial4:00 7:00 In RealityEST PST Wednesday4:30 7:30 Good Morning, Armenians!5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Unhappy Happiness - Serial8:30 11:30 When the Stars Dance8:45 11:45 Cool Program9:15 12:15 Music Videos9:25 12:25 Express9:55 12:55 Exclusive10:20 13:20 Soul Mate - Serial11:05 14:05 News in English11:20 14:20 Cartoon12:00 15:00 Late at Night13:00 16:00 Music Videos13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial14:55 17:55 News in English15:10 18:10 Suspects - Serial15:55 18:55 Music Videos16:05 19:05 In Reality16:30 19:30 Seven Women - Serial17:15 20:15 Soul Mate - Serial18:00 21:00 Express18:30 21:30 News in Armenian18:50 21:50 Unhappy Happiness - Serial19:20 22:20 When the Stars Dance19:45 22:45 Cool Program20:05 23:05 PS Club21:00 0:00 Music Videos21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 What Went Wrong23:45 2:45 Exclusive0:05 3:05 Cartoon0:45 3:45 When the Stars Dance1:05 4:05 Teleduel2:00 5:00 Express2:30 5:30 Seven Women - Serial3:15 6:15 Women in Love - Serial4:00 7:00 In RealityC20 Armenian Reporter Arts & Culture 11/10/2007


Satellite Broadcast Program Grid12 – 18 NovemberWatch Armenia TV onDish Network. To get adish and subscribe,call 1-888-284-7116 tollfree.15 November 16 November 17 Novemebr 18 NovemberThursday Friday Saturday SundayEST PST ThursdayEST PST FridayEST PST SaturdayEST PST Sunday4:30 7:30 Good Morning, Armenians!5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Unhappy Happiness - Serial8:25 11:25 When the Stars Dance9:15 12:15 Music Videos9:25 12:25 Express9:55 12:55 Exclusive10:20 13:20 Soul Mate - Serial11:05 14:05 News in English11:20 14:20 Cartoon12:00 15:00 Late at Night12:45 15:45 Yo-Yo13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial14:55 17:55 News in English15:10 18:10 Suspects - Serial15:55 18:55 Music Videos16:05 19:05 In Reality16:30 19:30 Seven Women - Serial17:15 20:15 Soul Mate - Serial18:00 21:00 Express18:30 21:30 News in Armenian18:50 21:50 Captives of Fate - Serial19:30 22:30 When the Stars Dance20:30 23:30 Cool Program20:50 23:50 Blitz21:10 0:10 Music Videos21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 Yo-Yo23:50 2:50 Exclusive0:05 3:05 Cartoon0:45 3:45 Candid camera1:40 4:40 Blitz2:00 5:00 Express2:30 5:30 Seven Women - Serial3:15 6:15 Women in Love - Serial4:30 7:30 Good Morning, Armenians!5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Captives of Fate - Serial8:40 11:40 Mosfilm10:20 13:20 Soul Mate - Serial11:05 14:05 News in English11:20 14:20 Cartoon12:00 15:00 Late at Night13:00 16:00 Music Videos13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial14:55 17:55 News in English15:10 18:10 Suspects - Serial15:55 18:55 Music Videos16:05 19:05 In Reality16:30 19:30 Seven Women - Serial17:15 20:15 Soul Mate - Serial18:00 21:00 Express18:30 21:30 News in Armenian18:50 21:50 Captives of Fate - Serial19:30 22:30 Mosfilm21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 What Went Wrong23:45 2:45 Exclusive0:05 3:05 Cartoon0:45 3:45 Music Videos1:10 4:10 PS Club1:40 4:40 Blitz2:00 5:00 Express2:30 5:30 Seven Women - Serial3:15 6:15 Women in Love - Serial4:30 7:30 Candid camera5:10 8:10 What Went Wrong5:30 8:30 Jokes6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Captives of Fate - Serial8:40 11:40 The Making of a Film9:15 12:15 The Armenian Film10:20 13:20 Soul Mate - Serial11:05 14:05 Exclusive11:25 14:25 Cartoon12:05 15:05 Hot-Line12:30 15:30 Music Videos13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Women in Love - Serial15:00 18:00 VOA(The Voice of America)15:20 18:20 Suspects - Serial16:05 19:05 What Went Wrong16:30 19:30 Teleduel17:30 20:30 Cool Program17:50 20:50 Express18:20 21:20 Music Videos18:30 21:30 News in Armenian18:50 21:50 Captives of Fate - Serial19:30 22:30 The Making of a Film20:05 23:05 The Armenian Film21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 Evening Encounter23:25 2:25 What Went Wrong23:45 2:45 Exclusive0:05 3:05 Cartoon0:45 3:45 Hot-Line1:10 4:10 Cool Program1:30 4:30 Music Videos2:00 5:00 Blitz2:20 5:20 Express2:50 5:50 Teleduel4:30 7:30 Candid camera4:50 7:50 Jokes5:30 8:30 What Went Wrong6:00 9:00 News in Armenian6:20 9:20 The Colour of Sin- Serial7:05 10:05 Suspects - Serial8:00 11:00 Captives of Fate - Serial8:40 11:40 Blitz9:00 12:00 Cool Program9:20 12:20 Music Videos10:05 13:05 Express10:40 13:40 Exclusive11:05 14:05 VOA(The Voice of America)11:25 14:25 Cartoon12:05 15:05 Hot-Line12:30 15:30 Jokes13:05 16:05 The Colour of Sin- Serial13:50 16:50 News in Armenian14:10 17:10 Late at night15:10 18:10 Yo-Yo15:35 18:35 Blitz15:55 18:55 What Went Wrong16:20 19:20 Concert18:05 21:05 Cool Program18:25 21:25 VOA(The Voice of America)18:45 21:45 PS Club19:45 22:45 Exclusive20:10 23:10 News20:35 23:35 Jokes21:30 0:30 News in Armenian21:55 0:55 Late at Night22:55 1:55 The Week23:20 2:20 What Went Wrong23:45 2:45 Yo-Yo0:05 3:05 Cartoon0:45 3:45 Hot-Line1:10 4:10 Cool Program1:30 4:30 PS Club2:00 5:00 Blitz2:20 5:20 Teleduel3:15 6:15 Blef3:45 6:45 Exclusive4:00 7:00 In Reality4:00 7:00 In Reality3:45 6:45 Women in Love - Serial4:05 7:05 Music VideosArmenian Reporter Arts & Culture 11/10/2007C21


Lights, camera, ArmenianCelebrating a small community’s big accomplishments inthe entertainment industryMartik Martin accepting a lifetime achievement award. Photos: Helena Gregorian.Dr. Michael Hagopian.AFFMA GalaEric Nazarian, won best director for his debut film The BlueHour.Gor Kirakosian won best screenplay for his film Big Story in aSmall City.C22 Armenian Reporter Arts & Culture 11/10/2007


action in HollywoodAlex Kalognomos. This year’s festivalchair got the evening started.Sylvia Minassian, founder of AFFMA,presenting Carla Garapedian with theArmin T. Wegner Award.Above left: CarlaGarapedian, 2007recipient of theArmin T. WegnerAward for hermovie Screamers.Above right: TheHollyscoop Girls.Left: MihranKirakosian,Madonna’schoreographer.Right: MichaelGourdjian.Armenian Reporter Arts & Culture 11/10/2007C23

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