The word Arada has different meanings and expressions. The simplest and the more direct meaning I chose to use here pertains to the area considered as the epicentre of the capital, described by a circle around fond including Piazza, which took a the centre stage in the importation of different materials and actions from western films. Such features as styles of walking or fashions of hairdos or even dressing up in the latest fashions were generally accepted as modernity.
The expression, ‘Ye Arada Lejoch’ (children of Arada) was, therefore, an addition of identifying classification of those youngsters more or less satisfying the mentioned descriptions. I shall focus only on my contemporaries.
A child of Arada, however, is not necessarily one who is born and bred in and around the described section of the capital. A young man from anywhere in the country can be Arada by simply adopting the features through time.
In the late 1950s and early 1960s, one feature of Arada was showing frequently at places as the Texas Tea House, where the present Arada Building, one of the high rising buildings, stands as a centre stage of the metropolis. Youngsters were gathering themselves at the Tea House not that it had a special tea or pastry or cookies. It was simply a rendezvous where boys just coming out of the cinema halls were rehearsed time and again.
These boys were retelling the features of the same films as if they had understood every English word they had listened from the actors. Some of these boys attempt to mimic the way the actors walk or look at something or stare at a certain action. Actors like Jeff Chandler, Richard Widmark, Tyson Power, Burt Lan Caster, Ellizabet Taylor, Lana Trurner, Allan Lad, Victor Macher, Gregory Pock, Gary Cooper and John Wayne had real impacts on the character formation of Aradas.
Singers like Elvis Prstley, Little Richards, Ray Charles, Nat King Cole, Ricky Nelson, Perry Como, Harry Belafonten, Pat Boone, Frank Sinatra and Doris Day were some of the celebrated singers that had sort of moulded the star singers, some of whom are still kicking strong. I want to share one such example where I witnessed the birth of a star singer some forty five years back.
It was a rainy season in Addis Abeba and the schools were closed. One Saturday noon, there was a heavy downpour when it rained dogs and cats, as they say.
There happened to be a play to be shown at the then Empress Mennen School, now renamed Yekatit 12 Compressive School. The all time record holder in Athletics, Yehawalashet Sigu, was selling entrance tickets at the gate. She had often worn so many medals on her chest to the point of not having enough space on her chest for the medals she had been awarded throughout the years. I heard that she had won a scholarship and had gone to Yigoslavia to attend her undergraduate and postgraduate studies to come back as a physical education instructor.
The road at the gate was flooded and we were stranded until the flow subsides. We were there only to see and feel what a girls’ school looks like.
I do not remember the gist of the play, but I remember that the cheermaster invited anyone of us to play the piano during the recess time. One fellow from Patriot School was nudged and persuaded by his friends to go to the stage and play music of Elvis Presley.
Nobody ever thought or dreamt that it was a moment of the birth of a star singer in the world of modern music in Ethiopia. That young man with a curly hair reminiscent of the style of the hairdo of Elvis Presley went to the stage and held a broom feigning like he was singing with a guitar in his hands and shaked like Elvis Presley and began singing, “The Jail House Rock”. The actions were similar to the American actor that the auditorium was filled with applause and cheers of joy.
The drama was called off. That young man happened to be one of the Arada students of Patriot School.
Every time the singer moved in a sway, once to the left then to the right, with his right hand moving up and down on the strings of the guitar, the girls in the hall screamed and yelled in animation and seemed to be carried away by the melody. The next time I saw that young man was on September 11, 1962 at the Genet Palace “Christmas Hall” playing as a vocalist for the Police Orchestra.
The cheer master Major Workneh came from behind the curtain held the microphone on the tripod and started reciting a few lines from a song. He then introduced the name of the singer, a name which became a household word ever since as one of the celebrities among the few singers, the likes of star singer Tilahun Gesesse, Esatu Tessema, Tezera Hailemichael, Tefera Kassa, Mesfin Haile, Habtamu Shiferaw, Tamirat Molla and Abay Bellette.
Alemayehu Eshete held the microphone for a while and waited for the Orchestra to give him the key notes and started singing to the surprise of everybody. At times, he shook his legs rhythmically to the time of the music.
After he finished the song and bowed out and disappeared behind the curtain. When the cheermaster came on stage, perhaps to introduce the next singer, the euphoria that followed held the whole audience to stand on its toes screaming with joy and applauding pleading for a repetition. He had no choice but to leave the stage for Alemayehu Eshete to sing his piece once more.
Alemayehu returned taking off his yellow coat with red edges. The whole audience was galvanised by the song and kept the standing ovation for a long time.
The next singers were two couples Mesfin Haile and Hirut Bekele. The last time I met Alemayehu Eshete in person was at a cocktail party at the National Theatre when I had told him my memories about him. I remain a fan. One of my favourite song happens to be, “Man Yihun Tilik Sew” (who shall be the big man?).
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