FROM JAMAICA TO ETHIOPIA, PROPHESY TO HIS IMPERIAL MAJESTY

"He's the only man in flesh, whom you can't look in the eyes," so crooned Michael Rose, formerly of reggae icons, Black Uhuru. And that aura of mysticism is strongly felt at what used to serve as the palace of Emperor Haile Selassie, in Addis Ababa. The historical connection between Ethiopia and Jamaica comes alive. A prophesy appears fulfilled through His Imperial Majesty.

Visiting the residence of the man at the core of the Rastafarian movement, is a truly fascinating experience, especially if you've grown up listening to reggae music, with abundant references to Haile Selassie, (insert me).

In numerous songs, I've heard of how a prophesy by Jamaican Marcus Garvey in the early 20th century about a black king being crowned in Africa, excited so many down-trodden people, (insert blacks).

A coronation did happen and Ras Tafari Mekonnen became Haile Selassie I, and this supposed fulfilment of Garvey's foresight, gave Rastafarianism a firm foundation.

Ethiopia, apparently holds a special place in the wider schemes of things, and there's even a Biblical verse often quoted by reggae artistes, Psalms 68: 31 which states:

"Princess shall come out of Egypt
Ethiopia shall soon stretch out her hands unto God."

The rule of Haile Selassie was, however, brutally crushed in the mid 1970s, but the belief in his divinity has never waned.

In a documentary I had the rare privilege of watching at the Bob Marley Museum in Kingston, Jamaica, a disbelieving Bob, on hearing of the developments in Ethiopia, penned a very emotive song, emphasizing his and Rastafarians' conviction that 'Jah liveth, ever faithful, ever sure!

Jah Live, Children ye-ah
Jah-Jah Live, Children Ye-ah
Jah Live, Children ye-ah
Jah-Jah Live, Children Ye-ah 

Fools say in their heart,
"Rasta, your god is dead!"
But I'n'I know:
Jah - Jah Dread;
It shall be Dreader Dread

The fierce look of the preserved lion that used to be owned by Emperor Haile Selassie, seems to underline this defiance.

Another reggae legend Bunny Wailer, lyrically cements the continuing link between Marcus Garvey's prophesy, Jamaica and Ethiopia, when he chants:

For it's no use dying in Jamaica,
'Cause we can't afford a burial spot
Remember Marcus Garvey, predicted that day
When all black people shall be going away
To the land of our fore-fathers and our mothers
Right here in Ethiopia

Indeed. the splendour of Haile Selassie's reign is evident in the emperor's private chambers

And as I depart  from this amazing and awe-inspiring country, I marvel at the rich tapestry of spiritualism, the destiny of Africa as defined by Africans, the turbulence of existential struggles and the steadfast belief of an assured emancipation.

I will definitely derive a deeper meaning, the next time I hear Culture's Joseph Hill saying:

There is a land
Far, far away
It's called Addis Ababa

Another reggae living legend Burning Spear aptly captures the reason why The World Should Know about Rasta Business, by making an Appointment with his Majesty and Calling Rastafari to become a Freeman!!!

A CON SHOW INTERVIEW OF KONSHENS

The purpose of media interviews is to extract useful information from persons of interest. The information must be about or from the person of interest. And you use background information to bring fresh information to the fore. This was hardly the case in recent TV interviews of a Jamaican dancehall artiste, ahead of his performance in Kenya.

For starters, it's good broadcast practise for some professional distance to be maintained, between the interviewer and their subject. Even the choice of words should reflect this imaginary but crucial space.

So, it was shocking to hear the host in one of the TV station react to the mere name of the studio guest by saying:

"It's kinda cute name...I like it..."

Cute? I like it? Are the opinions and feelings of the host adding value to the interview?

And when the guest said he was 'in love' with Kenya, again the host let out an unbelievable:

"Yeeey!!"

But it gets worse. At some point, she claps and mumbles something like (it):

"...brought a tear in my eye..."

Then shortly afterwards, she yet again gets all emotional. The Jamaican dancehall artiste says he believes success is a journey not a destination, to which the host replies:

"My gosh I have to write that down...that's awesome..."

It has profusely been already pointed out that this TV presenter was awestruck and openly 'attracted' to the interviewee ('I'm your biggest fan alive'). And I tend to agree. But I'll be quick to also point out that it's part of being human.

I can relate because the time I was on assignment in Kingston, Jamaica, I visited Harmony House production centre, home to reggae living legend, Beres Hammond.

As I awaited a reply to my interview request, I moved to the records shop but had difficulty pointing out to the attendant, which particular song I wanted, in the many CDs on sale. I knew the tune but not the words, let alone the title of the song, so all I could come up with was a terribly off-key hummed rendition.

Then the shop attendant gave me the surprise of my life. Visibly fed up with my awkward query, he suddenly brightened up and told me:

"There's Beres behind you. Let's ask him. Hey Beres....?

I turned and sure enough Beres was there in person. Needless to say, I froze. Up to this day, I can only remember Beres saying he was too busy at that point to grant a TV interview. Nothing about the song I wanted to buy. I eventually took a guess and got the CD with the song, 'Not Over Till It's Done' but I digress.

The point I'm making is that once in a while, one does get overwhelmed to the point of 'acting funny' while in the presence of someone they regard in very high esteem.

However, reason must always prevail in a live studio situation. And that means keeping the focus on the guest. Does the host have to tell us, (and her probably bored interviewee) that in her family, she's in the middle, just like the Jamaican, but only has brothers?

It does help to do thorough research, before the interview, to avoid sounding very ignorant. The artiste comes from Jamaica, an island, meaning the place is surrounded by water. So why ask the guest whether he will be interested in visiting the beaches along Kenya's coastline?

The other host from the TV station that simulated a 'Live' interview of the same artiste, equally failed in this respect. He gloriously displayed his limited 'overstanding' of Jamaica's local music scene.

And when the guest mentioned Bob Marley, I expected a follow-up discussion on the continuing posthumous influence of the late King of Reggae, decades later. But all I got was:

"Do you have a favourite Bob Marley song?"

I'm now more convinced there's no master of all subjects in Kenya, when it comes to conducting TV interviews. Maybe getting a co-host, who is a specialist in the relevant topic, will help bridge the knowledge gap.

MY REGGAE INSPIRED JOURNALISM JOURNEY

Jamaican reggae star Tarrus Riley is scheduled to perform in Kenya, this August, alongside songstress Etana. Fact: They're highly accomplished artistes. Fact: I attended a Tarrus concert in London. Fact: I interviewed his father Jimmy Riley in Kingston, Jamaica. Fact, I interviewed Etana in Kingston too. Fact: I met saxophonist and Taruss's producer Dean Frazer, in Trelawny, Jamaica. Fact: I have an unshakable link to reggae music, which has pretty much defined my world view and philosophy of life.

I have carried along my decades old passion for reggae music into my nearly decades old career as a professional journalist. Has this prominently featured in my working life? Yes. I wiggled my way into covering concerts by the likes of Morgan Heritage and Burning Spear, during their tours of Kenya, (not that it was debatable in the NTV newsroom then!).

I'm sure I would have been assigned (or self-assign myself) to cover the concert by my all-time favourite reggae band, Black Uhuru, when they had a concert in Kenya in 2008.

To my utter dismay, I did not even attend the show, it having cruelly coincided with an assignment I had in Germany. I had earlier interviewed the lead vocalist Mykal Roze, when I visited Jamaica in 2007.

That self-sourced journey to the Caribbean island, as part of my TV reporting duties, I readily admit, was very much like a pilgrimage to the birthplace of Bob Marley.

And just like hip-hop, turned reggae artiste, Snoop Dogg, (now Snoop Lion?), professes, there's something almost hypnotic about the Caribbean island of Jamaica, and not necessarily ganja inspired.

But life can be kind and does at times favourable smile on someone. Having missed Black Uhuru's concert in Nairobi, in 2010, I did manage to attend a memorable show by Mykal Roze in London, which also featured the outstanding performances by Andrew Tosh and the Rasites.

So, back to the Tarrus Riley concert, Kenyans have been promised it will be a night to remember and there has been a tremendous buzz already created, in both mainstream and social media, with many bloggers hyping the Jamaican's visit, days ahead of his actual performance.

Sure, the concert has all the ingredients of a fantastic outing. But it just doesn't cut it for me, largely because, well I unfortunately ascribe to what can be accurately described as 'old school reggae.' 

And to be honest, what made me attend Tarrus's concert at Brixton's O2 Academy in East London, in 2010, was purely because he, alongside Capleton, were the opening acts for Bunny Wailer.

Now this is a true reggae legend. His performance was mystical, and as much spiritually uplifting, as it was aesthetically appealing and intellectually engaging.

And as for the Tarrus set then, the only outstanding act I can remember is his cover version of Michael Jackson's 'Human Nature.'

Etana 'the strong one' struck me as a very intelligent and an alluring conscious woman, with an almost overpowering feel of freshness, when I had a one-on-one interview with her, back in 2007 in Kingston.

But of course, I would be lying, if I don't mention her stunning smile and general physical beauty, which perfectly complemented her pure, level-headed reflections about reggae music and life.

Looking back, it's been and will continue to be a fulfilling reggae inspired journalism journey for me.

ODE TO MEDIA INTERNS: AWAY WITH RECYCLING OLD FACES

There's something unnerving for many people, whenever they hear or see a new face reporting news on television. But for me, as long as the new talent has the broadcasting basics covered, it's quite refreshing to encounter a new personality delivering news. So hail media interns and down with recycling of old hands or is it faces?

Granted, the vast experience and professionalism possessed by veterans in the media industry, is a major asset. But it should always be remembered they too, have a shelf life that will one day approach the expiry date.

And this is the more the reason why media houses should invest in unearthing more journalists to keep the assembly line going, it being more expensive in terms of time, energy and finances spent on training, notwithstanding.

In actual fact, because of their deep knowledge of the industry and hands on experience in the news business, it is the veterans that might actually cost an arm and a leg to contract and maintain.

But this is not to say the budding journalists full of zeal and determination to succeed, but lacking a name or brand recognition, should be exploited by being overworked and underpaid.

Far from it. Prevailing market rates should ideally be reflected in any compensation packages, because it is quite diabolic and shameful for a self-respecting news establishment to take advantage of vulnerable interns, who are eternally grateful for having been given a chance, to the point of being blind and insensitive to their own welfare needs or fair rules of engagement.



And of what use is it for a media company to help nurture this fresh talent only to let it go, especially on the not so rare circumstances, where it could be letting something special slip away?

Not every intern can or should be absorbed into full time employment. But a professionally done assessment should be able to pinpoint the future gems, just by evaluating their growth potential.

Like the Jamaican crooner, Winston Hussey, musically observed:

"Long cut draw sweat. But short cut draw blood."

So enough with the musical chair business in the Kenyan media scene. Let's give deserving fresh talent a chance.