All of the lights are off in the Weeknd’s apartment. It’s 49 floors up, high above the long shadows of Toronto’s financial district, and the clouds outside make everything in this sparse and tidy condo look monochrome. There is a white leather sectional stationed on a white rug so plush it would be disrespectful not to take your shoes off before walking on it. Platinum records for his 2012 mixtape collection Trilogy hang on the walls. A massive window reveals Lake Ontario, which has been a blueish boon to winter-weary city folk all summer; on this evening in late August, it’s grey, a precursor to the grim season ahead.
Abel Tesfaye strolls into the room and sits down at a long, dark, smoked-glass dining table. He’s in house clothes: a black Miami Heat mesh short-sleeve with fitted black jersey-blend pants and white house slippers. A child of immigrants who was raised in the bustling, brown suburb of Scarborough, he wears a filigreed Ethiopian cross around his neck—it’s the kind of token that stays hidden beneath clothing, but never comes off. His hair, the subject of so much curiosity and so many memes simply because he does whatever he wants with it, is there on his head as it should be. Mugs of green tea are set down on a folded paper towel, in lieu of coasters. Tesfaye smiles easy and often and is comfortable locking eyes, except when challenged to speak at length on his music. Then, he furrows his brow and speaks in clichés; his eyes swerve to the left; he stares at the iPhone set between us that is recording his thoughts; or he picks at an invisible blemish on the crook of his left arm. Otherwise, he asks questions. He seems eager to please, if not a bit nervous. When we say goodbye, Tesfaye’s last words are: “Write good things about me!” This is not the Weeknd I expected.
The night before at The Mod Club, a cozy, 600-ish capacity venue west of Toronto’s downtown core, Tesfaye was a young god. The show took place exactly four years, one month, and one day after he stood on that same exact stage, clutching the mic like a totem, and performed as the Weeknd for the very first time. “You can look back at the videos from that first show and see how nervous I was,” Tesfaye says. “I was shaking. I didn’t move from that mic stand, I was holding onto it for dear life.”
To commemorate the full-circle moment, he wore the same beat up camo jacket last week; on his feet, though, were brand-new black Yeezy Boost 350s. The show was in celebration of Beauty Behind the Madness, his fifth full-length project (and first as a bona fide celebrity), and over the years, Tesfaye has become adept at working the stage. So this time, the production was scaled up to match his arena status: camera rigs taping a Vevo special, a floor-to-ceiling wall of his album art, signature cocktails at the bar.
This sort of gleaming industry machinery—along with the algorithmic pleasure of Tesfaye’s first #1 single, “Can’t Feel My Face”—has some long-time fans freaked out. Gone is the anesthetized apparition making R&B out of mixed samples and malice (although the rampant misogyny remains); in his stead is pop music’s newest conquistador, a dancing, Max Martin-buffed chameleon, shacking up with multiple lucrative fanbases (Ariana Grande, 50 Shades of Grey, Ed Sheeran). But Beauty Behind the Madness, whose personnel also includes the singer’s spiritual mentor Kanye West as well as his longtime collaborator Illangelo, is only a surprise for those who thought the Weeknd was a passing fad. R&B was never Tesfaye’s strict domain, it just took him a couple of years to convincingly transpose his spectral brand of nihilism onto a radio-ready template. Look no further than a hook from his breakthrough 2011 mixtape House of Balloons and you’ll see that he’s been about it from the start: “All that money, the money is the motive.”
Pitchfork: When did you first start to sing?
Able Tesfaye: I’ve been singing my whole life. I’d randomly sing in the hallways at high school, and all my friends would be like, ‘You should sing on ‘Canadian Idol’!” It definitely gassed me! So then I got a microphone and a shitty computer and started recording these corny songs with my friends, Boyz II Men covers and shit. I would listen to it and I thought I sounded OK, but I was still shy, you know? But playing arenas gave me that confidence, like, “Maybe I do have that star quality.” I still don’t feel like I’m 100% there yet, but I always knew I wanted to be a star ever since I knew that I could sing. I can never be Michael Jackson or do what he did, but he is definitely a good inspiration: I want to give the kids that feeling.
Pitchfork: What feeling is that exactly?
AT: When Michael died, it felt like part of my family died. I want [my fans] to know that my music is for them and if, god forbid, anything happened [to me], it would be like a piece of them is gone. That’s what he made me feel. That’s what I want to do. I’m grabbing that side of me and putting it out to the world—and the R. Kelly side, and the Prince side. All three are my inspirations, and you hear all of that on this album.
Pitchfork: What do you find musically interesting about Prince?
AT: Prince was always just pushing the envelope. Michael was doing that too, but he wasn’t as experimental. Prince turned experimental music into pop music. “When Doves Cry”, the whole Purple Rain soundtrack—he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt House of Balloons was. Image, lyrics, content, storytelling, cohesive body of work: That’s Prince to me. Michael had cohesive bodies of work, but every song was its own song, and usually I can tell a story with my albums. R. Kelly is just a child of Michael and Prince; I want to be that of my generation. I mean, I hope I can be that.
Pitchfork: Why did you decide to chase a more straightforward sound with this album?
AT: For a while, I didn’t focus on the commercial success. I really was going at the punk aspect of everything, which worked, but I felt like it got redundant. I owe it to people—to my family, to myself—to make music that makes me feel good and also is a little easier to understand.
Pitchfork: Does it mean anything to you to have songs on the charts?
AT: Yeah, it does, because now I’m grabbing the ear of most of the world. I’ve had this door open for a long time and now I’m inviting people in. It’s going to be fun, and I’m going to use this opportunity to make great music because I know the whole world’s listening. It inspires me. Now that I know people are expecting and anticipating great music, I’m going to make great music. [pauses] With great power comes great responsibility. [laughs]
Pitchfork: Did you anticipate people would say that you’ve changed?
AT: Yeah. I put “Real Life”, “Tell Your Friends”, “Losers”, and “Often” at the beginning of the album because I’m telling a coming of age story. It’s a reminder that I’m not gone.
Pitchfork: I’m not convinced this album is actually all that different from what you’ve always been doing; the melodies are just stickier and the songwriting is stronger now.
AT: It’s like science at this point. I love when [fans] sing subconsciously, where it’s like, “I know that melody.” I feel like a lot of people who say I’m doing something totally different are just getting into House of Balloons,Thursday, and Echoes of Silence, and they’re like, “Oh my god, I want more [of that style].” But back in 2012, when I was continuing to do that kind of music, people were fed up with it. They were like, “This is all he can do?” I owe it to myself to show the world how versatile I can be, because that’s not all I can do. Why can’t I try something that challenges me as an artist?
Pitchfork: Did you have to learn how to write pop songs?
AT: No. I didn’t have to learn. It’s always been in me. I just had to be confident enough to let it out. Working with producers like Max Martin and Kanye West, I’ve learned to do certain things technically and make a song in a different way than I usually would, but it’s always been in there.
Pitchfork: What was it like to work with Kanye on “Tell Your Friends”? The vibe reminds me of “Devil in a New Dress” from Twisted Fantasy.
AT: He used “Devil in a New Dress” a lot as a reference for that song. Everyone’s a character on my album, and his production, voice, and input is a character, too. There’s so much detail in his sessions, and he definitely helped craft who I’ve been, subconsciously, for the past few years. To actually be with him and talk to him and work with him, it’s just like coming to life. He had to make the same decisions I did: College Dropout, Late Registration, and then the shift into Graduation, and another shift into 808s & Heartbreak, which got mixed reviews but is one of the most important bodies of work of my generation. Kanye needed to be on this album, because I feel like I’m going through what he’s been going through—reinventing himself and pushing the boundaries. And he looks at himself as pop. He says, “I’m a pop artist. You can’t put me in one category.”
Pitchfork: What character did Lana Del Rey play on the album?
AT: Me and Lana have been friends for a long time. I’ve inspired her, she’s inspired me. I feel like we’ve always been talking to each other through our music. She is the girl in my music, and I am the guy in her music. It’s just this ghostly collaboration that feels the most natural on the whole album. Even the whole monologue intro on “Lonely Star” from Thursday—I just realized now that that’s Lana. That’s Lana’s voice. [laughs] I mean, it’s my voice pitched up, but it’s her, it’s who she is. She was definitely the first feature that I wanted to bring on this album.
Pitchfork: Has anyone ever called you out about the way you talk about women in your music?
AT: In my life? Yeah. But I don’t feel like I’ve ever pushed it to the point where they can’t understand or respect the art, because it is art. Music is like film to me. When Tarantino makes a movie he gets people shitting on him 24/7, but it’s his art, and he stands by it. And at the end of the day, my listeners love it, I love it, I hope you love it. [laughs] The music I make on this album is definitely matured. It’s a bit of a different state of mind even though it’s the same person. You grow and you grow and you don’t know what the next album is going to be about. You never know what I’m going to say.
“Lana and I have always been talking to each other through our music. She is the girl in my music, and I am the guy in her music.”
Pitchfork: You retweeted a recent Pitchfork piece about how your East African roots are reflected in your music, what did you think of it?
AT: It’s the first time any writer has really dove into that part of me and my music, but it’s always been there. That’s how I was raised. My mother, my grandmother, my uncles would play Ethiopian artists like Aster Aweke andMulatu Astatke all the time in the house. They would drink coffee, eat popcorn, and listen to the music. It’s such beautiful music, but I didn’t realize how beautiful it was until I left that head space. That’s why I feel like my singing is not conventional. I mean, if you look at technique, I’m not a technical singer; I know I get bashed by R&B heads 24/7. I’m not here to do Luther Vandross runs. I can’t do what Jennifer Hudson does. But the feeling in my music and in my voice is very Ethiopian and very African and much more powerful than anything, technically. There are songs like “Gone” where I don’t even know what I’m saying—I let my voice do all the talking. I’ll probably do an album like that one day where it’s not lyrics at all, just melodies and great production. Maybe the next one, I don’t know. That’s the Ethiopian side of me. I didn’t know what [the musicians] were saying when I was younger: Just because you speak it doesn’t mean you really understand what they’re saying. Ethiopian poetry is a different language. I can speak and understand [Amharic], but I can’t understand their poetry. When my mother would translate—it’s the most beautiful thing ever. I’ve never been back home to Ethiopia, but when I do go I’m going to make it very special.
Pitchfork: There are a lot of redemptive ideas on this album, but on “Tell Your Friends” you call yourself a villain. Do you like playing the villain?
AT: [laughs] Do I come off as a villain? Yeah, it’s cool. I mean, I love villains—they’re the best characters in movies, right?
Pitchfork: They’re usually the most complex, anyway.
AT: 100%. The Joker is my favorite villain of all time: You don’t know his past, you just know what his plans are. The Joker that Christopher Nolan created inThe Dark Knight had the scar across his mouth, and the first time you heard his explanation for it, he makes you believe that’s how he got it. But then you get into the film, and every time he talks about his scar, it’s a totally different story. That tells you what kind of person he is; he’s not telling you who he is. It’s kind of how I am—or how I was: You know me, but you don’t know me. I give you what I want to give you. I relate to villains like that—but I’m not out to destroy the world. [laughs]
በኦስሎ ዳይመንድ ሊግ የ5000ሜ ፉክክር ኢትዮጵያውያን አትሌቶች በሁለቱም ፆታዎች በአሸናፊነት አጠናቀዋል
ትላንት ምሽት በኖርዌይ ኦስሎ በተከናወነው የዳይመንድ ሊግ 5000 ሜ. ውድድር ኢትዮጵያውያን አትሌቶች በወንዶችም በሴቶችም ከአንደኛ እስከ ሶስተኛ ያሉትን ደረጃዎች በመቆጣጠር አሸንፈዋል፡፡ በዝናባማ የአየር ሁኔታ ውስጥ በተካሄደው የሴቶች 5000 ሜትር ፉክክር ዳዊት ስዩም በመጨረሻዎቹ መቶ ሜትሮች ውስጥ ፍጥነቷን በመጨመር ጉዳፍ እና ለተሰንበትን ቀድማ አንደኛ ወጥታለች፡፡ የኢትዮጵያ አትሌቲክስ ፌዴሬሽን ለኦሪገን 2022 የአለም ሻምፒዮና ከመረጣቸው ዕጩ አትሌቶች ዝርዝር ውስጥ ያልተካተተችው ዳዊት በኦስሎ ያሸነፈችበት 14፡25.84 የሆነ ሰአት የራሷ ምርጥ ሲሆን እጅጋየሁ ታዬ (14.12.98) እና ለተሰንበት (14፡24.59) ባለፈው ወር በዩጂን ካስመዘገቧቸው በመቀጠልም የዘንድሮ የአለም ሶስተኛው ፈጣን ነው፡፡ በውድድሩ ላይ ከነበሩት ሌሎች ኢትዮጵያውያን መካከል በዘንድሮው የውድድር ዓመት በርቀቱ የመጀመሪያ ተሳትፎዋን ያደረገችው አልማዝ አያና በ14:32.17 ስድስተኛ ሆና አጠናቃለች፡፡ ሀዊ ፈይሳ በ14:33.66፣ ፅጌ ገብረሰላማ በ14:43.90፣ እና አበራሽ ምንሴዎ በ14:47.98 በቅደም ተከተል ሰባተኛ፣ አስረኛ እና አስራ አንደኛ ሆነው ሲያጠናቅቁ ሶስቱም ያስመዘገቡት ሰዓት የራሳቸውን ምርጥ ያሻሻሉበት ሆኗል፡፡ ጥሩነሽ ዲባባ እ.ኤ.አ. በጁን 2008 ዓ.ም. ያስመዘገበችውና 14:11.15 የሆነው የኦስሎ ዳይመንድ ሊግ የሴቶች 5000 ሜትር የውድድር ስፍራ ሪከርድ ይሰበራል ተብሎ ተጠብቆ የነበረ ቢሆንም ሳይሳካ ቀርቷል፡፡
ዳዊት ስዩም ውድድሩን በድል ካጠናቀቀች በኋላ ለውድድሩ አዘጋጆች በሰጠችው አስተያየት ‹‹ዛሬ ለእኔ ደስታን ስላመጣልኝ በውድድሩ ሰዓት የነበረውን ዝናብ ወድጄዋለሁ ማለት እችላለሁ፡፡ ጠንካራ ተፎካካሪዎች የነበሩበት ከባድ ውድድር ነበር እናም ሁሉንም ለማሸነፍ በቅቻለሁ። በርቀቱ የራሴን ምርጥ ሰዓት ማሻሻል መቻሌም አስፈላጊ ነበር፡፡ በስታድየሙ ውስጥ በከፍተኛ ስሜት ድጋፍ ይሰጡን የነበሩ ወገኖቻችን ነበሩ። ለሰጡን ድጋፍ እናመሰግናለን።›› ብላለች፡፡ በኦስሎ የወንዶች 5000 ሜትር የመጨረሻ ፉክክሩ በኢትዮጵያውያኑ ጥላሁን ሀይሌ እና ሳሙኤል ተፈራ መካከል የነበረ ሲሆን ጥላሁን የ1500 ሜትር ስፔሻሊስቱ ሳሙኤልን በአጨራረስ ፍጥነት ቀድሞ በ13:03.51 በአንደኛነት አጠናቋል፡፡ ሳሙኤል ተፈራ የራሱ ምርጥ በሆነ 13:04.35 ሁለተኛ ሲወጣ ጌትነት ዋለ የግሉ የዓመቱ ምርጥ በሆነ 13:04.48 ሶስተኛ ደረጃን ይዞ ጨርሷል። በውድድሩ ላይ የነበሩት ሌሎች ኢትዮጵያውያን ሚልኬሳ መንገሻ በ13:05.94 አምስተኛ እንዲሁም አሊ አብዱልመናን የራሱ ምርጥ በሆነ 13:16.97 አስረኛ ወጥተዋል፡፡
ጥላሁን ሀይሌ ውድድሩን በአሸናፊነት ካጠናቀቀ በኋላ ለውድድሩ አዘጋጆች በሰጠው አስተያየት ‹‹ሶስት ኢትዮጵያውያን የመጀመሪያዎቹን ሶስት ደረጃዎች ይዘን መጨረስ መቻላችን ጥሩ አፈጻጸም ነበር። እየጠነከርኩ እንደሆነ የተሰማኝ ሲሆን በውድድሩ እና ባስመዘገብኩት ሰዓትም ተደስቻለሁ። ለረጅም ጊዜ ጉዳት ላይ ስለነበኩ ወደ አሸናፊነቱ መመለስ መቻሌ በጣም ጥሩ ነው።›› ብሏል፡፡
በኦስሎ የሴቶች 800ሜ. ውድድር ላይ ተፎካካሪ የነበረችው ኢትዮጵያዊቷ ድሪቤ ወልቴጂ በ1፡58.69 አምስተኛ ሆና አጠናቃለች።
የዘንድሮው የኢትዮጵያ አትሌቲክስ ብሄራዊ ሻምፒዮና በእኔ እይታ
ከመጋቢት19-24/2014 ዓ.ም በሐዋሳ አለም አቀፍ ስቴድዮም የተደረገው 51ኛዉ የኢትዮጵያ አትሌቲክስ ሻምፒዮና ከሞላ ጎደል ስኬታማ በሚባል ሁኔታ ተጠናቋል፡፡ ከአምስት አመት በኋላ በድጋሚ በአካል በመገኘት ስለተከታተልኩት የኢትዮጵያ አትሌቲክስ ሀገር አቀፍ ሻምፒዮና የግል ምልከታዬን እንደሚከተለው አጠናቅሬዋለሁ፡፡ የበለጠ ትኩረትን በሳቡት ውድድሮች ዙሪያ የተመዘገቡ ውጤቶችን በወፍ በረር በመዳሰስ ስጀምር ከፍተኛ ፉክክር በታየበት የመጨረሻ ቀን የወንዶች 5000ሜ. የአለም ከ20 አመት በታች ሻምፒዮና የ3000ሜ የብር ሜዳልያ አሸናፊው አሊ አብዱልመና 13፡45.0 በሆነ ሰዓት ከጥላሁን ሀይሌ፣ ጌትነት ዋለ እና ዮሚፍ ቀጄልቻ ቀድሞ አሸናፊ ሆኗል፡፡ የፉክክሩ አካል የነበረው እና የርቀቱ የወቅቱ የአለም ሻምፒዮን ሙክታር እድሪስ ስድስተኛ ወጥቷል። ከ20 ዓመት በታች የ3000ሜ የአለም ሻምፒዮኑ ታደሰ ወርቁ በ28፡12.0 የወንዶች 10,000ሜ. ሻምፒዮን ሲሆን በ1996 ዓ.ም. በአትሌት ስለሺ ስህን ተመዝግቦ የነበረውን 28፡16.23 የሆነ የሻምፒዮናው ሪኮርድ ለማሻሻልም በቅቷል፡፡ በ10 ሺህ ሜትር የሴቶች ፉክክር ግርማዊት ገብረእግዚአብሔር በቀዳሚነት የጨረሰችበት 31፡21.5 የሆነ ሰዓት አዲስ የሻምፒዮንሺፕ ሪኮርድ ሆኖ ተመዝግቧል፡፡ በርቀቱ የከዚህ ቀደሙ ሪኮርድ ለተሰንበት ግደይ ከሶስት ዓመት በፊት ያስመዘገበችው 32፡10.13 የሆነ ሰዓት ነበር፡፡ ሳሙኤል ፍሬው በዘንድሮ የወንዶች 3000ሜ. መሰናክል አፈፃፀም ከአለም ሁለተኛው ፈጣን በሆነ 8፡22.5 ሰዓት አሸናፊ ሲሆን ጌትነት ዋለ ከአራት ዓመት በፊት አስመዝግቦት የነበረውን 8፡28.98 የነበረ የሻምፒዮናው ሪኮርድም አሻሽሏል፡፡ በሴቶች 3000ሜ. መሰናክል ከ800ሜ ወደ ረጅም ርቀት የተሸጋገረችው ወርቅውሃ ጌታቸው በ9፡41.8 ሰዓት መቅደስ አበበን (9:43.8) በማስከትል በአሸናፊነት አጠናቃለች። አድሃና ካህሳይ (3:51.0) የወንዶች 1500ሜ ፉክክሩን በበላይት ሲያጠናቅቅ በሴቶች 1500 ሜ አያል ዳኛቸው (4:10.0) ተጠባቂዋ ዳዊት ስዩምን (4:11.1) በመቅደም በአንደኛነት አጠናቃለች። በ800ሜ. ወንዶች ቶሌሳ ቦደና (1:47.1) በሴቶች ወርቅነሽ መሰለ (2:02.1) አሸናፊ ሆነዋል። ዮብሰን ብሩ በ400ሜ/400ሜ መሰናክል (45.9/50.5) ድርብ ድል ሲቀዳጅ፣ በወንዶች ጦር ውርወራ ኡታጌ ኡባንግ ብሔራዊ ሪኮርድ በሆነ 73.28ሜ. አሸንፏል፡፡ የኋልዬ በለጠው እና ዮሃንስ አልጋው በእርምጃ ሩጫ የሻምፒዮንነት ክብርን ተቀዳጅተዋል። ጥቂት አስተያየቶች፡- የኢትዮጵያ አትሌቲክስ ስፖርት አፍቃሪ እንደሆነ እና ለዕድገቱ እንደሚቆረቆር ሰው በብሔራዊ ሻምፒዮናው ላይ ስለተመለከትኳቸው አዎንታዊ እና አሉታዊ ጎኖች ጥቂት አስተያየቶቼን እንደሚከተለው አስቀምጣለሁ፡- አዎንታዊ ጎኖች • ባለው ነባራዊ ሁኔታ ውስጥ ሊገጥሙ የሚችሉትን ተግዳሮቶች በሙሉ በመቋቋም ፌዴሬሽኑ ውድድሩን ከአዲስ አበባ ውጭ አካሂዶ በሰላም ማጠናቀቅ መቻሉ አንደኛው ስኬቱ ነው፡፡ • በሻምፒዮናው ላይ ጥቂት የማይባሉ ታዋቂ አትሌቶች በሀገሪቱ ትልቁ የአትሌቲክስ ፉክክር ላይ ተሳታፊ ሆነው ሲወዳደሩ መመልከት የተቻለ ሲሆን በተለይም በወንዶች 5000 ሜትር ፍፃሜ ላይ የታየው የኮከብ አትሌቶች ፉክክር ልዩ ነበር፡፡ • በውድድሩ ወቅት ለአትሌቲክስ ዳኞች የብቃት ማሻሻያ ስልጠና መሰጠቱም የውድድሩን ጥራት ለማሳደግ የሚረዳ እንደመሆኑ እሰየው የሚባል ነው፡፡ • እንደ ኢትዮ ኤሌክትሪክ ያሉት ክለቦች ለአትሌቲክስ ስፖርት የበለጠ ትኩረት በመስጠትና ተጠናክሮ በመቅረብ ከዚህ ቀደም በጠንካራነታቸው ከሚታወቁት መከላከያ እና ኢትዮጵያ ንግድ ባንክ ጋር የቅርብ ተፎካካሪ ሆነው መታየት፤ የኦሮሚያ ክልል፣ ደቡብ ፖሊስ እና ሲዳማ ቡና ክለብ አትሌቶችም ጠንካራ ተሳትፎ ሳይዘነጋ የሻምፒዮናው ፉክክር ድምቀት ነበሩ፡፡ • የአንዳንዶቹ ተገቢነት አጠያያቂ ቢሆንም ብዛት ያላቸው የሻምፒዮናው ሪኮርዶች የተሻሻሉበት ውድድርም ነበር፡፡ አሉታዊ ጎኖች • የሀገሪቱ ትልቁ የአትሌቲክስ ውድድር ውጤት አሁንም በኤሌክትሮኒክስ የሰዓት መቆጣጠሪያ የማይደገፍ መሆኑ በተለይም በአጭር ርቀት እና በሜዳ ላይ ተግባራት ውድድሮች ላይ የሚሳተፉ አትሌቶች ልፋት ተገቢውን እውቅና እንዳያገኝ እያደረገ ይገኛል፡፡ የሻምፒዮናውን ውጤቶች በዘመናዊ እና ዓለም አቀፉን መለኪያ በሚያሟላ መልኩ አለመያዝ በአህጉራዊ እና አለም አቀፋዊ ውድድሮች ላይ ለተሳትፎ የሚያበቁ ውጤቶችን በማስመዝገቡ ረገድ የሚኖረው አሉታዊ ተፅዕኖ ከፍተኛ መሆኑ ከግምት ውስጥ ገብቶ አሁንም መፍትሄ ያልተበጀለት ጉዳይ ነው፡፡ • የኢትዮጵያ አትሌቲክስ ፌዴሬሽን ወደ ሚዲያ/ለአጠቃላዩ ሕዝብ የሚያስተላልፈው የመጀመሪያዎቹን ሶስት ደረጃዎች ይዘው የሚያጠናቅቁ አትሌቶችን ውጤት ብቻ መሆኑ አወዳዳሪው አካል የሚያደርገውን የራሱን ውድድርም ሆነ አትሌቶቹ የለፉበትን ውጤት ከማስተዋወቅ አኳያ በቂ አይደለም፡፡ • በወንዶች የጦር ውርወራ እና የሴቶች ምርኩዝ ዝላይ ብሔራዊ ሪኮርዶች እንደተመዘገቡ ይታመናል፤ በሴቶች 100ሜ መሰናክል እና የወንዶች 400ሜ መሰናክል የተመዘገቡት ሰዓቶችም የምንግዜውም ፈጣን ሊሆኑ ይችላሉ፡፡ ነገር ግን ውድድሩ በኤሌክትሮኒክስ ታይሚንግ ያልተደገፈ እና የንፋስ ንባብ ያልነበረው መሆኑ ውጤቶቹ በዓለም አቀፍ ደረጃ ተቀባይነት እንዳይኖራቸው የሚያደርግ ነው። • በ20 ኪ.ሜ የእርምጃ ውድድር ላይ በሁለቱም ፆታዎች የተመዘገቡት ሰዓቶች ከሚጠበቀው በላይ እጅግ በጣም ፈጣን እና እውነታዊ አለመምሰላቸው በውድድሩ ላይ የተፈጠረ አንዳች ስህተት መኖሩን የሚያመላክቱ መሆኑ፡፡ እንዲህ አይነት ለማመን የሚከብዱ እና ጥርጣሬን የሚፈጥሩ አይነት ውጤቶች ሲመዘገቡም የተፈጠረ ስህተት መኖር አለመኖሩን ለማጣራት አለመሞከሩ፡፡ • የሴቶች 10 ኪሎ ሜትር ውድድር ላይ ለውድድር የማይፈቀድ የጎዳና ላይ መሮጫ ጫማን በመጠቀም የተመዘገበ ውጤት በሪኮርድነት ጭምር ተይዞ መፅደቁ። ብሔራዊ ፌዴሬሽኑ ከተከለከሉ ጫማዎች ጋር የተያያዙ ዓለም አቀፍ ሕገ ደንቦችን ማወቅና መተግበር ቢገባውም በሴቶች 10 ሺህ ሜትር ውድድር ላይ የተከሰተው ነገር የውድድር ሕገ ደንቦቹ መረጃ በፌዴሬሽኑ ውስጥ በትክክል የተሰራጩ እንዳልሆነ የሚያመላከት ነው፡፡ • በሴቶች 1500 ሜትር የግማሽ ፍፃሜ ውድድር ላይ አትሌት ዳዊት ስዩም የሻምፒዮናውን ሪኮርድ ያሻሻለችበት ውጤት እንደተመዘገበ በውድድሩ ወቅት በተደጋጋሚ ሲነገር ከተደመጠ በኋላ ግልፅ ባልተደረገ ምክንያት ውጤቱ በሐዋሳው ውድድር ላይ ተሻሻሉ ከተባሉት የሻምፒዮናው አዲስ ሪኮርዶች ዝርዝር ውስጥ ሳይካተት መቅረቱም የፌዴሬሽኑን ግልፀኝነት ጥያቄ ምልክት ውስጥ የሚከት ነው፡፡ ከላይ የተዘረዘሩት አዎንታዊ እና አሉታዊ ጎኖች ለረጅም ግዜ የኢትዮጵያን አትሌቲክስ ስፖርት እንቅስቃሴዎች በቅርበት ከመከታተሌ አንፃር በራሴ እይታ ያስቀመጥኳቸው እንደመሆናቸው አንዳንዶቹ ሀሳቦች አከራካሪ ሊሆኑ ይችላሉ፡፡ ሆኖም የውድድር ደንቦችን በአግባቡ ከማስፈፀም አኳያ በታዩት ክፍተቶች ዙሪያ ምንም የሚያከራክር ጉዳይ ስለሌለ በወቅታዊ የውድድር ደንቦች ዙሪያ የግንዛቤ እጥረት ላለባቸው የስፖርቱ ባለድርሻ አካላት በሙሉ አስፈላጊውን ገለፃ እና ትምህርት መስጠት የፌዴሬሽኑ ኃላፊነት ነው፡፡ ከውድድር ጋር የተያያዙ ደንቦችን ከመጣስ አኳያ በሀገር ውስጥ በሚደረጉ ውድድሮች እንደቀላል ነገር የሚታለፉ ጉዳዮች በዓለም አቀፍ ውድድሮች ላይም ተደግመው እንደግል አትሌቶችን እንደቡድን ሀገርን ትልቅ ዋጋ ሊያስከፍሉ ይችላሉና አስፈላጊው ጥንቃቄ ቢደረግ መልካም ነው፡፡ ባለፈው መስከረም ወር በቪየና ሲቲ ማራቶን ውድድሩን በአሸናፊነት ጨርሶ የነበረው ኢትዮጵያዊው ደራራ ሁሪሳ የገጠመውን አንዘንጋው! ሀገራችን ኢትዮጵያን በመልካም ጎኑ ስሟ እንዲነሳ በሚያደርገው እና በትልልቅ ዓለም አቀፍ የውድድር መድረኮች ላይ የኩራታችን ምንጭ በሆነው የአትሌቲክስ ስፖርት እንደጎረቤታችን ኬንያ ዓለም አቀፍ ውድድሮችን የማስተናገድ የብቃት ደረጃ ላይ ደርሰን ማየት የዘወትር ምኞቴ ነው፡፡ የኢትዮጵያ አትሌቲክስ ፌደሬሽንም የውድድሮቹን ጥራት ለማሻሻል በትኩረት እንደሚሰራ ተስፋ አደርጋለሁ።
በመጨረሻም በሀዋሳ በተካሄደው 51ኛዉ የኢትዮጵያ አትሌቲክስ ሻምፒዮና ከመሮጫ ጫማ ጋር የተያያዙ ደንቦችን በማስከበሩ ረገድ የተፈጠረውን ክፍተት እንደማስተማሪያ ብንጠቀምበት በሚል የሚከተለውን ለማለት ወደድኩ፡-
የመሮጫ ጫማ ደንቦች ለትራክ ውድድር
64 ደቂቃ ከ14 ሰከንድ በሆነ ሰዓት የዘንድሮ የራስ አል ካይማህ የግማሽ ማራቶን ውድድር አሸናፊ የሆነችው ግርማዊት ገብረእግዚአብሔር በሐዋሳ በተከናወነው 51ኛው የኢትዮጵያ አትሌቲክስ ሻምፒዮና ላይ 31 ደቂቃ ከ21.5 ሰከንድ በመግባት የ10,000ሜ. አሸናፊ ሆናለች፡፡ የኢትዮጵያ አትሌቲክስ ፌዴሬሽንም ዓለም አቀፉን ደንብ ከግምት ባላስገባ ሁኔታ ውጤቱን በአዲስ የሻምፒዮንሺፕ ሪኮርድነት ጭምር አፅድቆት አልፏል፡፡ ይሁን እንጂ መጋቢት 20/2014 በተደረገው የሴቶች የፍፃሜ ፉክክር ላይ በኢትዮጵያ ምድር የተመዘገበ የምንግዜውም ፈጣን የሴቶች 10 ሺህ ሜትር ሰዓት የሆነው ውጤት በአለም አትሌቲክስ ዘንድ እውቅና ሊሰጠው የማይችል ነው።
አትሌቷ የሶል ውፍረቱ 40ሚሜ የሆነ ዙምኤክስ ቬፐርፍላይ (ZoomX Vaporfly) ጫማ አድርጋ በመወዳደሯ ምክንያት።
● ደንቡ ምን ይላል?
በትራክ ውድድሮች ላይ የሚፈቀደው ከፍተኛው የሶል ውፍረት ፡-
– 20ሚሜ ከ 800ሜ በታች ለሆኑ ውድድሮች እና ለሁሉም የሜዳ ላይ ተግባራት (ከስሉስ ዝላይ በስተቀር)
– 25ሚሜ ለ800ሜ እና ከዛ በላይ ለሆኑ ውድድሮች እንዲሁም ለስሉስ ዝላይ
– 40ሚሜ ለትራክ ላይ የእርምጃ ውድድሮች
እነዚህ ደንቦች እ.ኤ.አ. እስከ ኦክቶበር 31, 2024 ድረስ በሥራ ላይ ይውላሉ። ከኖቬምበር 1 ቀን 2024 ጀምሮ ለ800ሜ እና ከዚያ በላይ ለሆኑ ውድድሮች እንዲሁም ለስሉስ ዝላይ የሚፈቀደው ከፍተኛ የሶል ውፍረትም ወደ 20 ሚሜ ዝቅ የሚል ይሆናል።
● የትራክ ላይ መወዳደሪያ ስፓይክ ጫማ ከሌለኝስ?
ደንቡ የጎዳና ላይ የመሮጫ ጫማዎች በትራክ ላይ እንዳይደረጉ አይከለክልም ነገር ግን በ25 ሚሊ ሜትሩ ገደብ ምክንያት 30 ሚሜ ወይም 40 ሚሜ የሆኑ የጎዳና ላይ መሮጫ ጫማዎች በትራክ ውድድሮች ላይ እንዲደረጉ አይፈቅድም፡፡
● ለበለጠ መረጃ :-
On the TPLF’s Love Affair With ‘Genocide’
Today, the joint investigation report by the Ethiopian Human Rights Council and the UNHR
on human rights violations committed in Tigray concluded that there is no evidence that genocide has taken place so far. While this is a bit of a setback for the TPLF, which has wanted the world to believe—since the 1990s, even as the TPLF was dominating power in Addis—that a genocide has been perpetrated against the people of Tigray, unfortunately the group still appears to be determined to make genocide a reality. This is confusing for people who don’t understand why the TPLF is obsessed with genocide, why its internet cadres began using #TigrayGenocide in April 2020, months before the war began. So many weapons have been deployed in this war, and among them: confusion and obfuscation.
In the past several months and more so in the past few weeks, we have been getting
testimony after testimony from allied Amhara forces fighting the TPLF that Tigrayan residents of cities in Wollo have been collaborating with the TPLF by a) attacking ENDF and allied forces from behind; b) forcing ENDF and allied forces to withdraw from towns and cities afraid of committing large scale massacres by firing back at the civilians (Tigrayans) firing at them; c) helping the TPLF locate and execute young Amharas believed to be a threat; and d) in at least one horrifying account by an IDP who managed to escape occupied territories, handing TPLF soldiers a list of women to rape. Another shocking development in the past several months has been the widespread use of child soldiers by the TPLF, which, according to experts who have studied the practice, is an “alarm bell” calling attention to possible plans to commit mass atrocities. The use of child soldiers by the TPLF and its attendant implications, along with the widespread deployment of civilian sleeper agents in Amhara cities the TPLF has taken over, serves to create an overall perception of every Tigrayan as a potential enemy, sowing fear and mistrust.
Many Ethiopians are looking at this and wondering: why are Tigrayan elites on the internet
either celebrating the TPLF’s advance via these toxic methods or silent about all this? How can they not see how dangerous this is for everyone, especially for Tigrayans who live outside Tigray? How can they not see that there is no “winning” after stoking all this lasting animosity? Do Tigrayan elites not understand that there can be no justice for Tigray—whether Tigray secedes or not—unless there is justice for her neighbors, for Tigray does not exist in a vacuum? The questions are being asked but nobody is answering them. Our academic class has largely failed to offer viable analyses of the ideas driving this war, as they failed over the past fifty years in regards to coming up with a fitting paradigm for understanding Ethiopia’s unique situation.
Here is my humble attempt to explain what I think is happening with the TPLF’s obsession
with—and with its active attempt to inspire—genocide:
The most successful psychopaths in any field understand that, in order to win anything, one
must risk everything, including the very thing one is supposedly fighting for. In the case of the
TPLF (and associated Tigrayan political elites), whose motto appears to be “give me supremacy or give me death,” that “everything” they are risking is the lives of ordinary Tigrayans in whose names they are fighting. We have seen over the past several months the extent to which the TPLF is willing to go to sacrifice ordinary Tigrayans in order to get what it wants: wave after wave after wave of young poorly armed and inexperienced Tigrayans were unleashed upon ENDF and Amhara and Afar forces in order to force the latter to waste ammunition and energy before the more experienced soldiers are sent.
So, for a political group who sends tens of thousands, if not hundreds of thousands, of
young Tigrayans towards open fire, violence against hundreds of thousands of Tigrayans is nothing if it means the TPLF will in the end win the “prize” it has been obsessed with for decades: genocide. You see, merely attaining power in Addis Ababa is not enough for the TPLF, whose core driving ideology is Tigrayan supremacy. Power is temporary; anybody can take it away from you, and the 2018 uprisings demonstrated that. Genocide is forever. Nobody can take away from you the story of genocide committed against your people.
The TPLF looked at countries like Israel and Rwanda and realized what a potent instrument
genocide is for establishing perpetual minority rule. We have some indications suggesting that the TPLF views Israel as a model. When the war between Ethiopia and the TPLF began in November 2020, Sekoutoure Getachew, a TPLF official, went on TV to tell us that the TPLF’s decision to launch a preemptive attack on the Northern Command was inspired by how the young state of Israel, feeling threatened by her neighbors, launched preemptive attacks against them in the “six-day war” of 1967. Another indication is the manner in which the TPLF, during its 27 years in power, invested heavily in creating a wealthy and strongly networked Tigrayan diaspora which has been used to lobby and influence western governments and organizations much in the same way as the Jewish diaspora aids the state of Israel. The TPLF has figured out that truth does not matter in politics, especially in international politics. If you have the wealth and the personnel to peddle your preferred narrative, if you have the military power to subdue the people you want to subdue, if you are willing to make concessions to external forces (US, Egypt, etc), you can do unspeakable things to others (much like the state of Israel does to Palestinians) and still manage to portray yourself as the victim.
This calculation is so far working for the TPLF, but nothing would seal the deal like the actual
commission of genocide—or something that looks like it—against Tigrayans. As we have seen over the past twelve months, western governments and organizations have shown their willingness to adopt TPLF’s narratives without scrutiny and can easily reward the TPLF with its much pursued prize, genocide, even if actual genocide doesn’t take place.
But why does the TPLF need genocide to establish minority rule? Because, as we saw in their
first tenure in power, you can only rule with an iron fist for a limited period of time. Leaders of the TPLF are adherents of Tigrayan supremacy: the idea that Tigrayans, as the “only” heirs of the Axumite empire, are the natural rulers of the Ethiopian state, and cannot be ruled by “barbarians” south of them. The only acceptable power arrangement for the TPLF is one in which Tigrayans are either directly dominating political power or are the perpetual kingmakers pulling all the major strings. Anything outside that, any system that forces Tigrayans to live on equal footing with everyone else, is unacceptable. And this kind of domination by a minority cannot coexist with a democratic system that the majority of Ethiopians clearly prefer. So, the TPLF needs something more potent than pure political/economic/military power to justify bypassing democracy to establish itself as the permanent ruler/kingmaker of Ethiopia. It needs a new and powerful raison d’être to justify its domination not just to Tigrayans and the rest of Ethiopians but, and most importantly, to the rest of the world. If a genocide were to be committed against Tigrayans (or if the U.S. decides to reward the TPLF with the genocide label even in the absence of it), then the TPLF can license itself to impose all manner of drastic measures aimed at “protecting Tigray and
Tigrayans.” This could be anything from redrawing internal borders (and taking debilitating
measures against the peoples whose lands are being robbed—most likely Amharas and Afaris—so that they will never be in a position to assert themselves) to ethnic cleansing and genocide against populations considered to be a threat. And when you oppose it, the TPLF will say “you committed a genocide against Tigrayans” over and over and over, and its western backers will repeat the same chorus. If they have been this loud over a non-existent genocide over the past twelve months, just imagine what it would be like if the U.S. or UN rewards them with that label.
And this is where the Ethiopian government’s major dilemma comes from: if ENDF and
Amhara forces fight to regain their cities and towns, they risk committing large scale massacres. The TPLF networks reported to be operating within these cities wear civilian clothing and fire at the armies from inside civilian establishments, in an apparent attempt to set up pro-Ethiopia forces. Pro-Ethiopia forces are essentially being dared to commit large scale massacres in order to win back their own cities. So far, they are choosing to withdraw from these towns and cities. But that is another problem: not only is the TPLF committing unspeakable violence against civilians and destroying infrastructure in those cities, the takeovers are emboldening it to continue pressing, giving young people back in Tigray false hope that they are winning and—this is very important—the false idea that they are being “welcomed” by locals in those cities. Then more and more and more young Tigrayans are sent to their deaths.
So the Ethiopian government is stuck between a rock and a hard place. One option is
allowing its forces to do whatever it takes to take back territory, thereby offering protection to its citizens in Wollo and elsewhere, but also risking the “genocide” label by western governments who have been eagerly waiting for such an opportunity so that they can blackmail the government into submitting itself to their wishes on GERD and other issues. Option two is avoiding large scale violence and allowing the TPLF to take power in Addis Ababa and do to Ethiopia what it wishes. One of the things it might do to Ethiopia, according to its leaked strategy document, is force a confederation that will no doubt privilege some states, i.e. Tigray, more than others, and that will no doubt be designed to subdue some populations—mainly Amharas and Afaris—who are considered obstacles to Tigray’s aspirations of domination and expansion (in the TPLF’s original manifesto, Afar is claimed as Tigray land).
And there is absolutely no doubt that the TPLF will make big concessions on the GERD in
order to compensate its western and Egyptian backers, if not redraw borders to make Benishangul Gumuz Tigrayan territory. If you think this is wild, read about the history of the state of Israel, the TPLF’s model state. The redrawing of borders that the TPLF undertook in 1991 was also wild at the time; people don’t think of it as outrageous anymore because the fact that they held onto the territory for 30 years has normalized the event in our minds. And that’s all the TPLF needs: another thirty years to normalize all the outrageous things they will do next.
One may argue that this is a false dichotomy, that there is a third or even maybe fourth option: winning these cities back without mass violence much in the same way the ENDF managed to do during its first campaign in Tigray. We all should pray for such a miracle, of course. However, one can also say that in the early days of the war, the TPLF was mostly withdrawing from Tigrayan cities to avoid urban warfare. And even when they engaged in urban warfare, it was not at the same scale and intensity as has been the case over the past four and half months or so. Starting in mid June, the TPLF’s use of civilians as human shields and fighters stopped being just another weapon in its arsenal and became a center of its operations. The near collapse of the ENDF inside Tigray right before its withdrawal was precipitated by the TPLF’s intensified use of “civilians” to trap the ENDF. Many ENDF soldiers chose to surrender rather than fire at those “civilians.” It is still possible to avoid large scale violence in the attempt to retake towns in Wollo, but the risk for it is very high, and is possibly behind the federal government’s reluctance to take decisive actions.
The point is: barring miracles, the Ethiopian government is positioned to lose something
one way or another. All that is left is choosing its preferred poison. Perhaps one thing to consider for the federal government is: the rights of Amharas and Afaris to defend themselves against the existential threats posed against them by the TPLF is much bigger than the national government’s concerns about its place and relationships with the rest of the world. If the federal government decides to risk the disintegration of Ethiopia, like it has done so far either due to incompetence or severe fear of committing large scale violence, that is fine for the federal government. But when you allow that disintegration to happen, please don’t leave the people of Amhara and Afar in a vulnerable position, unable to defend themselves and their lands. If we must return to the State of Nature, at least give these two peoples, who have so far shed more blood than anyone else in defense of their country, a chance to preserve their lives and their lands. Give them the resources they need to defend themselves before it is too late for them even if you feel it is too late for Ethiopia. Anything less is just a continuation of the gross criminal negligence that the federal government has been guilty of so far.
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