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All TATA fans....share your thoughts here:):):)


hyebruin

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Armine, Welcome to HyeForum.

 

I do love that song as well. I just love Nune's voice. She is pretty and couple of years ago she and I traveled to Armenia in the same plane from London to Yerevan. Except that turkey could afford to sit in first class and I was in cattle class. :(

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Armine, Welcome to HyeForum.

 

I do love that song as well. I just love Nune's voice. She is pretty and couple of years ago she and I traveled to Armenia in the same plane from London to Yerevan. Except that turkey could afford to sit in first class and I was in cattle class. :(

LOL!!!!!!!!!

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NeW  Tata  Song ( Yes Qez Tesa ) is in Sold Out #3 Cd

 

it's a  nice CD

 

Aida

Harout Hagopyan

Nersic Isparian

Nune Yesayan

Armen Aloyan

Hasmik

Ararat

Marina

Levon Navasardyan

Tata

Shushan Petrosyan

thank you movses jan!!! :) i got the cd before heading back, listened to it on the way back...it's a nice collection....i liked ararat's too..a lot!! B)

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The Daily Star, Lebanon

Jan 9 2004

 

Tata asked back to thrill Armenian audiences

 

Size of following indicates that whatever the singer lacks in

originality, he more than makes up for with energy

 

Garine Tcholakian

Daily Star staff

 

Tata is the biggest name in Armenian pop music today. Or so his fans

say. There is no limit, it seems, to what a community will do to stay

together. Over the past six years, Tata Simonian has slowly become

the king of Armenian popular dance ­ better known as rabiz music.

The Armenian singer, hailed both in his country as well as abroad,

has attracted quite a following. Since 1996, Tata has been touring

cities with large Armenian communities. He was invited to Lebanon for

the first time last year to perform at UNESCO Palace on the Armenian

Christmas. The event caused such a buzz that he was invited back this

year by the Hamazkayin Cultural Committee for concerts on consecutive

nights at the Biel Pavilion Royal on Monday, and at the UNESCO Palace

on Tuesday.

What is fascinating about Tata is that his music is not fascinating

at all. If anything, he is simply the king of restaurant, wedding and

community hall singers all over the world. In his early 20s ­ like so

many others in Los Angeles, Montreal, Windsor and Toronto ­ Tata

started singing in bands that included do-it-all synthesizers. At

that time, he could only hope to have a rock star following, even one

limited to the Armenian community. Like them, he sang traditional

Armenian dance songs about love ­ lost or hoped for ­ and never had

the benefit of any formal musical training.

"(The songs) just come to me," Tata reveals in interview on the day

after his UNESCO concert. "I don't compose music. I just come up with

the songs in my head and play them … I don't know why I became more

successful than others," he continues. "God just answered my prayers,

I guess, because I have always dreamed of becoming a star."

Even until recently, with the exception of well-liked songs like

Anabadi Arev (Desert Sun) and those on his newest album, Antrsev e

kalis (It's Raining), Tata's music was not original work but his own

version of popular Armenian dance songs. This "own" version,

according to his fans, is what makes Tata special.

What that means, though, is that the same de rigeur extended guitar

solos and 4/4 drum-beats that can be found in every Armenian

barahantess (dance), banquet, or celebratory event, are performed by

Tata "his" way.

But neither the 6,000-member crowd at Biel, nor those who attended

the UNESCO Palace concert Tuesday night seemed to care about any of

this. For them, it was Tata, and he was enough. Some had come from

Anjar just to see him perform. For them, what was most important is

the ability of a singer to "get you up to dance," and, assuredly,

Tata can do this.

He runs up on stage at the UNESCO Palace concert hall, a little more

enthusiastic than the crowd, wearing a white bohemian shirt, black

leather pants and, as always, his signature baseball cap (black

leather, ornamented with swarovski crystals). His kind, beady eyes

squint into the crowd under the shade of his cap.

Amidst colorful, flashing spotlights and other stage effects, he

prompts the Armenian Christmas evening crowd. "Rabiz is for the

young, let's go! Clap! Clap!" he yells. "We hope you don't sit there

all night, we hope you are going to get up and sing, whistle, dance!"

 

For over two hours of what sounds like versions of the same song

(with the exception of a couple slower tunes), the audience claps in

unison with the enthusiasm of a sing-along for songs they have often

heard in their cars and at birthday parties.

Tata meanwhile seems to enjoy himself on stage, playing air guitar,

drumming his hands in the air, and mimicking (perhaps once too often)

the electric guitar players in the band with his microphone stand.

The crowd seems oblivious to the occasional feedback from the

speakers that intrudes periodically. Nor do they seem a bit bothered

by the sudden power outage on the speakers: an outage that interrupts

one song, and which briefly brings the entire performance to a halt.

"We're used to this in Armenia," Tata says with a charming smile.

"Only in Armenia, the power doesn't come back on."

The crowd laughs, and as the music begins again, they clap with

renewed fervor, energized by a moment of collective embarrassment.

Soon thereafter, a young couple from the crowd comes down from their

seats and begins to dance in front of Tata below the stage. Like

professional ice-breakers, they encourage the audience to join them.

After a couple of songs, a train of teenage Armenian girls join in,

wearing flared jeans and stylish short skirts. They join fingers and

dance the common shourtch bar while mouthing the words.

The UNESCO Palace hall soon begins to feel like a familiar Armenian

house party. The girls then line up at the edge of the stage, facing

Tata, for the remainder of the concert, waving their hands in the air

from side to side, looking at each other only to change the pattern

to a rhythmic clap-then-back step movement.

"This next song is dedicated to all the young girls," yells Tata. The

older audience members watch them from their seats, smiling.

What makes Tata the phenomenon he is surely has nothing to do with

the originality of his music, but rather his ability to feed the

continuous and insatiable willingness of the new Armenian diaspora to

survive culturally.

It helps, of course, that he comes from the motherland itself,

satisfying the community's need to get closer to its source. While

there is hardly a shortage of Armenian rabiz singers, the need for a

singular rallying figure is indeed great ­ perhaps so great that it

supersedes, sadly, any consideration of the quality of that new

cultural direction.

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It seems like the word "rabiz" is a currency which had a pegged exchange rate and now is floating freely in the market to find its real value/meaning.

Some apply it to everything that is Armenian and bad, others use it for "macho" and here in that article it is applied to Armenian pop dance.

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Spiking of “rabiz” have any of your watched the new year program from Armenia ?? on the 31st / 1st

the one that has our Gusan / king of Armenian singers / Aram Papik ??

The new year program from Armenia was "xaytarakutyun". It was so untasteful - it's a shame that Armenia's national television has sunk to that level. :(

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When I saw that I thought that Aram Asatryan should be put to jail. Those girls looked like teenagers who could have been his granddaughters. It was disgusting. And that black servant behind him was totally inappropriate.
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I am concerned that Aram is called a gusan. what??? gusan??? no way, until a few years ago there was sar u dzor between gusan and rabiz, so now if aram is gusan then who is rabiz?

Sasun jan at his 50th bday - he was gavan a HyeGusan Kochum :) From Armenian Gov.

Gusan Aram Asatryan

 

Sasun jan shat yerger uni grats / shnorqov gortser shat uni / kam es tsragri mej voroshel eyin mi lav dzer arneyin kam el chgitem inch asem

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