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Songs of Rage Keep Pace With Extraordinary Times Part-2

Updated on December 2, 2019
Hafiz Muhammad Adnan profile image

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In previous section of "Songs of Rage Keep Pace With Extraordinary Times Part-1", you read about the gap between the songs broadcast by the street sound and those who posted and produced on social media. You read about the contribution of some Payoneer artists in this field as an example. Importance of street sound in Beirut streets also discussed there. Presently "Yuyu - Bread and Salt - Dar Qanbes" and "Anthem of the Revolution" - Ziad Ahmadi and Mehdi Mansour are working or worked previously in Beirut streets, in the current article I am going to discuss about the working of some other artist, a continue part of "Songs of Rage Keep Pace With Extraordinary Times Part-1". For complete detail about the Part 1, see the link below.

"See" - The Head

Al-Ras (Mazen al-Sayed) invited people to the street repeatedly, as in the song "Ashad" (2017), in which he repeated that "there is something for us in these streets that we must take, there is something for us in these battles that we must take." It's like all this happened on the night of October 17th and the aftermath. The Lebanese rapper released his song "Shuf" a few days after the uprising, pointing out that the accumulation of people's suffering finally pushed them down the street "and united us with suffering... We became a people that we won." By describing the state of the collective, the song pours into the idea of breaking fear. Refraction is associated with people regaining their street. The head is determined that it will not come back to ride... Look at the country how I tear you down. Mazen al-Sayed, who has enriched arabic rap references and styles in terms of words and melodies, remains sharp in the face of power. His new song "Shuf" can celebrate some of the victories at last, but that does not ease the pulse of his song and electronic music, as he continues to protest against the individual and collective realities, re-correcting the real conflict that transcends all hate speech "Haqqi Manneh when the refugee haqqi bank Central". The song first spread on his soundcloud channel, followed by a Video on Facebook featuring scenes from his live concert in Al-Lazariya Square.

In the Street "The Darwish"

The street is one in the song "In the Street" by the Syrian rapper "Darwish" (Hani Al-Sawah). It is the house that runs from Cairo to Baghdad, Homs, Sudan, The Levant and Beirut. Lebanon's recent uprising has brought the artist back to the revolutions of the Arab world, especially in his country, Syria: "They have swallowed us in Syria, but my brothers in all the countries are making the whole country home." "I am my home under the street... Under the council of the street... On the street in the street, the tourists repeated it and repeatedly returns to it in his song, Kalma, to emphasize the right of the people on their street. But the revolution against regimes also occurs through more individual revolutions, a "revolution on oneself... A revolution on the Ankzaite (anxiety), a revolution on the paranoia." Between hunger and sectarianism, between the arms and the people, between death and the restoration of the soul, the battle is resolved in favor of "Tahrir Square, for the martyrs of Iraq and for Hussein al-Attar and those who have been proven in the squares... It is for those who died before to tell them their tiredness when they died." The quiet rhythm of the song, despite the harsh words and obscenity, suggests that both the artist and the street have finally breathed a sigh of relief after the uprising. It is as if part of the previous anger in his songs was emptied in the uprising in advance. After first posting on SoundCloud, the tourists re-posted it on YouTube a few days ago, along with a video (Shadi Jaber) featuring scenes from lebanon's demonstrations.

"The Hawara of the Revolution" - Jamal Abdul Karim and Alaa Al-Najjar

The celebratory character of the song "The Hawara al-Thawra" (the idea and preparation of the bass player Jamal Abdel Karim) has recently been published on YouTube. Just as the demonstrations witnessed the return of folk dance and dabkeh, there is a kind of reconciliation with all the components of Lebanese popular culture. From the beginning, the "war of the revolution" separates the parties to the conflict, the people and the power: "The war, Bo, our revolution is not a disaster... We walk edi and you come back Laura, the song is ironically, the ready and easy accusations that the demonstrators made a fit of collapse from the popular crowds, they didn't have to understand what they said spontaneously/ funded by embassies and hidden hands. The words restore some of the events that have taken place since October 17, including the reform paper presented by the government, through which it announced with some exaggeration and exaggeration that it will be a solution to the country's crises that have accumulated for more than thirty years: ¬ęThey said in a reform paper when we have a magical ability to cure diseases Cancer brings energy and my air... He also criticized economic politics and the status of the lira, in addition to intimidation from the void, and through bullying in the street, in the voice of the young singer Ali al-Najjar, accompanied by a chorus singing and dancing in the video (filmed by Ali al-Sheikh), as well as a band that includes Ayman Suleiman (Oud), Jamal Abdul Karim (Besiq), Ahmed Al-Khatib (Rq), Rabie Al-Kang (drum), Humphreys Hovsbian (Keyboardd) and Zaher Hamada (Electric Bus).

For More Informative Work, Read Below:

This content is accurate and true to the best of the author’s knowledge and is not meant to substitute for formal and individualized advice from a qualified professional.

© 2019 Hafiz Muhamamd Adnan

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