#Marwan abdelhamid

[usertoxicyaoi]

SAINT LEVANT. 5AM IN PARIS (2024).

[vyorei]

Palestinians don't just exist in the Gaza Strip or the West Bank.

They're scattered globally and watching as their people are slandered and genocided, helpless to do anything.

If this happened to Ireland today and I had to watch from overseas and not on the island, I would honestly never trust a single Westerner again. I already see the people I thought were allies have turned, and make arguments that would have pushed for the North to be flattened had The Troubles occurred in 2023.

Keep being loud and make sure these people know they have our support and our rage.

[badcomicsrph]

In the source link, you will find 119 gifs of Saint Levant in a Bazaar interview. These were made primarily for @dear-indies.

Please respect the rules at the link, and reblog/like if you plan on using or found this useful.

Have fun!

ETA: if you wanna support what I do, here is a list of charities aiding Palestine

[biglisbonnews]

Saint Levant Signs His Political Message 'From Gaza, With Love' Marwan Abdelhamid, the 22-year-old trilingual singer who records as Saint Levant (French for “holy rising”), released his debut EP From Gaza, With Love earlier this month. You may know the young artist from a viral snippet on TikTok that caught the attention of nearly 14 million viewers. The sultry rap clip features his 2022 single “Very Few Friends” and its seductive, baritone hook: "I wanna take you to Paris and spoil you," transforming Saint Levant's muscle-tank-and-mustached brand into one that relied heavily on sex symbols, both visually and sonically. Saint Levant, a child of the Palestinian diaspora, set out to prove that his artistic identity encompasses more than the flesh and blood carnality of his fans' favorite TikToks. "From Gaza, With Love is an ode to the place where I spent the first seven years of my life, a beautiful city by the sea filled with love, memories and unfortunately great pain, suffering and oppression," Abdelhamid tells PAPER.As the son of a French-Algerian mother and a Palestinian-Serbian father, the Gen-Z heartthrob spent his early childhood in Gaza before fleeing to Jordan with his family. He explains: "We are much more than the dehumanizing images you see in Western media. This song is a message to the world, and I sign it with love."Drawing on early-2000s R&B, Arabic trap music and Franco-Arabic rap, Saint Levant's title track "From Gaza, With Love" is a heartfelt homage to his culture with danceable, Middle Eastern flair that infuses the hook and song's thesis — “I came from Gaza with love/ (But I’d feel like a tourist if I ever went back)" — with multicultural soul. The project uses the chameleonic powers of his trilingual upbringing — having spoken English at school, French at home and Arabic in a Palestinian refugee camp — to invite global listeners to embrace the sensuous riches of his Middle Eastern culture.While advocating for Israeli-Palestinian peace has situated him at times within the sticky, no-win arena of public controversy, Abdelhamid invariably handles his politics with love and empathy. Abdelhamid doesn't shy away from imbuing his art with a political message. Check out the PAPER premiere of the "From Gaza, With Love" music video below, where Saint Levant serenades his viewers against a backdrop reminiscent of 1980s public access television. Photos courtesy of Saint Levant https://www.papermag.com/saint-levant-gaza-with-love-2659651735.html

[youmighthatemebutihateyoumore]

Are Lover Boys in Music Rated?

Recently, Saint Levant released his single "Very Few Friends" which now has millions of streams on Spotify and over 10 million views on TikTok. Like others, I instantly became obsessed with this man's music after he came up on my For You Page, for the variety of languages he could rap/sing in and his versatility in musical genres. However, I've seen many videos of women saying that Marwan is raising the standard for men and how boys of our generation are changing the level of respect they have towards women. And as far as I know Saint Levant seems like a really nice guy. But in no way does that mean that we as women have to claim that what Marwan Abdelhamid is doing is exceeding our expectations; if anything, he is doing the bare minimum. Furthermore, accepting ideas of being "spoiled" and "enjoyed" can be quite problematic. Marwan is suggesting that he can splash out on a woman and that his money is a tool to her happiness. I believe that Saint Levant wrote this with the intention of building his Lover Boy image, however, the lyricism hasn't had enough thought.

Nevertheless, what Saint Levant is doing is changing the music scene and we should appreciate his art as well as all his other attributes, not just his level of respect towards women and his charming attitude; as a young, trilingual Palestinian he is speaking out for his people and usually creates recurring ideas of freedom for Palestinians, suggested by the idea of '2048' and his past songs like "Haifa in a Tesla" or the "Jerusalem Freestyle" that evidently express themes of the apartheid in Jerusalem. His artistry could continue these themes in future songs as well as the Lover Boy trope he likes to pursue. Perhaps the Lover Boy image is also a marketing technique, to vary his listeners and appeal to women as well as men.

Marwan is not the only artist that does this however. In fact, Lover Boy music has been around for a while. I am an RnB girl and love the 2000s RnB Lover Boys, from Mario to Joe. Artists like Mario and Joe have always been praised for their attractive lyricism that describes respecting women and treating your woman right; this should be the bare minimum for all men, respect is the most basic attribute a man could have towards a woman. For example in Mario's "Let Me Love You" he proposes that women who aren't being treated right by their current partner could do better and be with him; to "Let me(Mario) love you".

I also believe Lover Boys make their songs quite sexual suggesting that a relationship is about sex and how a Lover Boy wants to physically enjoy his partner. For example "Every night, doin' you right" is a direct quote from 'Let Me Love You', where Mario expresses his sexual potential and abilities that he claims to be better than the current partner of the woman in this scenario. Joe also, like many other Lover Boy artists, create multiple sexual images within his art. I want to clarify that there is absolutely nothing wrong with sexual imagery in music, however, I think it paints an artist in a toxic light, if a relationship is solely based on sexual contact. What many male artists aren't doing is respecting all types of women- they aren't being inclusive enough- and they aren't praising the personality or attributes of a woman unless it is sexual. For example, Saint Levant sings "I want the neighbors to hear you yell /Told me she's a CEO, I can tell" where he is exalting a woman for her sexual abilities and not qualities she could have like intelligence or wit. However he does commend her being a business woman and boss bitch: "Self-made, now you're self-paid with your own plans". Although the Lover Boy is meant to fulfill the sexual fantasises of a woman, being in a relationship whether its serious or not should be built on respect for each other, not based on sexual desires; such a relationship is just infatuation.

Of course, Saint Levant, Joe and Mario aren't the only artists that make Lover Boy music. They also don't express violence and toxicity towards women, something that a lot of other male artists do. In fact, this piece is appreciating Saint Levant for his musicality and unique artistry; I have never seen other artists create pieces like his. Additionally Levant's amalgamation of his multi-lingual abilities, cultural pride and Western styles should be applauded. I love Saint Levant's passion for Palestine and how his music is representing a ethnic minority that are often misunderstood by the Western world. I just want this article to communicate my feelings of Lover Boy music and how respecting a woman is a modicum of the level of admiration you should have for the person you are in a relationship with. Finally, women shouldn't alter their standards for a man doing the bare minimum or expect any less than respect from their partner; you deserve the very best.

Therefore, do we rate Lover Boys? Or are they just doing what all men should be expected to do?

[thesinglesjukebox]

SAINT LEVANT - "SEE YOU AGAIN"

Not a Miley Cyrus cover Not a Wiz Khalifa cover Not a How Many Times Are We Going To Do This Joke Cover with thanks to Taylor for suggesting this multilingual magnificence...

[7.18]

Rose Stuart: Saint Levant has been one of my most listened to artists of 2023, and "See You Again" is a great example why. The wistful, dream-like instrumentation is the sonic exemplar of yearning, kept grounded by a beat reminiscent of a ticking clock. Saint Levant's laid-back flow maintains the airiness of the song, but where in "Nails" it was effortlessly confident, here it almost sounds pained. The seemingly simple flow only serves to highlight his masterful wordplay, and the easy switch between languages emphasises the double meanings of the song -- a regretful love ballad, and a mourning for the past (what past is left only hinted at, with references to the "war in [his] room" and the EP being titled From Gaza, with Love). It feels like a disservice to Saint Levant to say, but "See You Again" is what Drake was trying to achieve -- dreamy and melancholic, self-flagellating without ever being pathetic, brutally honest in all of its emotions. I only hope that Saint Levant sees some of the success Drake has. [9]

Taylor Alatorre: "PTSD back from '05." In 2005, Marwan Abdelhamid was 4 years old. A diagnosis originally used to describe shell-shocked soldiers returning from World War I is here used to denote the earliest memories of one's childhood. This daunting revelation is tucked away at the tail end of Saint Levant's EP From Gaza, With Love, a release which largely focuses on the second half of that title -- "Lover Boy Levant," he calls himself at one point, a bit of Drake mimicry that's disarming in its blatantness. Knowing this, it may not seem immediately logical to view "See You Again" as a more elegiac, pessimistic version of Kanye's "Homecoming," with Gaza swapped in for Chicago. There is no big "if you don't know by now" reveal to spell it out for the listener, and one could easily write the song off as a less horned-up take on the rapper's default pose as the globe-hopping heartbreaker. It's only by taking in the EP as a whole, and specifically its title track, that the more political interpretation becomes unignorable, if not undeniable. Prior to that track's groanworthy verse about Bella Hadid, there's these two crucial asides in the background, like intrusive thoughts made manifest: "but I'd feel like a tourist if I even went back," and "if they had it their way we would never go back." The first of those has an entire other single written about it, but it's the second that's more relevant here. I've no desire to turn this into an essay about the right of return, and Levant doesn't either -- though I will note that I am writing this on the date that UN Resolution 194 was adopted, and that Levant's record label, 2048, is named after the 100th anniversary of the Nakba. "See You Again," while rooted in this history, is more of a quiet inventory of personal losses and regrets than a rousing expression of national aspirations. He may use an unnamed "auntie" as a stand-in for his homeland, but he resists the temptation to cast his atypical refugee story as the avatar of an entire diaspora. Just as crucially, despite the forward-looking stance of the song's title, it spends far more time dwelling in the irretrievable past than in planning for a future that it intentionally leaves vague and undefined: "Two years and they flew by... I left you when I needed you." The production style, archetypically yet suitably intimate, is devoid of tricks or gimmicks, save for one which works incredibly well. When the lower end drops out of the mix in the second verse, leaving only the piano and a few lonely drum pads, it makes the repetition of the lyrics seem like a mournful meditation instead of a cop-out. He could say more, and he has in other songs, but does he need to here? Is it not right and just to simply pause and take stock of what has been lost, of what once was and never can be again, before taking one more uncertain step forward? [9]

Wayne Weizhen Zhang: There's so much subtext here -- from Saint Levant's birth during the second intifada, to the way that he effortlessly weaves French, Arabic, and English together, to daddy issues, to the way that the object of his affection seems to both be a person and a place currently experiencing the worst genocide of the 21st century -- is it bad that my biggest takeaway is just how insanely sexy Saint Levant sounds? [8]

Ian Mathers: There's so much going on here that I'm kind of mad at my brain for refusing to focus on anything other than "remember when Drake was actually an appealing presence on a song?" (I'm not sure I do, but Saint Levant makes me feel like I could understand it.) [7]

Micha Cavaseno: French remains one of the worst languages for rap. There's maybe two times I've heard French spat on a beat and not been repulsed; one time by some guys attempting fake Three Six Mafia stuff in a Salem mix (so already extremely niche circumstances) and the other from MHD's career (now potentially over as he's currently facing incarceration!). Saint Levant is not achieving that by doing the warmed over Migos triplet cadence married to Stormzy-level saccharine nobility through the trials and tribulations we all must go through... and yeah, this man has a certain amount of genuine tribulations. But he's abandoning that for generic platitudes that muffle and muddy whatever he's trying to express. He needs a new flow, new style, whole new everything. And please, please, don't rap in French to me. Nobody deserves that, not even the French! [4]

Nortey Dowuona: I don't know why Buddy Cademi went super hard on the piano, but I hope he reaps a significant amount in royalties for carrying this damn song on his finger -- not his back, his fingers. Absolutely beautiful. Oh, and "PTSD back from '05" is a great line. The tenderness which Saint Levant sings "I really hope I see you again" with the unknown female vocalist is beautiful. Wish I could find her name though... [5]

David Moore: Warmed-over, if pleasant, modal rap that gives a lot of space for a (the-)dreamy synth and piano bath I associate with an era of sing/rap I personally found a bit less one-note (well, four-note, technically). Can I give it an extra point for heartbreaking geopolitical resonance? Yes. [6]

John S. Quinn-Puerta: It's elegant in its restraint. Saint Levant doesn't drag it out at all. The chorus acts as a bookend for his plaintive cry, not even begging but hoping that he can see the addressee again. The piano becomes more prominent throughout until Saint Levant trusts it to end the track on its own, embodying his feelings just as much as the words did, the tiny modulations playing on hope, not fear. [9]

Brad Shoup: The last playlist I made was of songs from 1998; I always love doing the years with rap but the Continental stuff tests me. For like 15 years, the predominant strains were, in reverse order, "German frat guys" and the grimmest boom-bap imaginable. So yes, it's a balm to hear Drake-style emotional rap, especially with celestial synths and piano lines that move like parted curtains. [6]

Jacob Sujin Kuppermann: Drawn back to this again and again for the moment two minutes in when words fail and a truly gorgeous passage of piano unfurls itself. It's one of the most arresting moments in pop this year -- a moment of rupture and relief from the deep and messy feelings of the rest of the song. [7]

Katherine St Asaph: "See You Again" recalls the electro quietstorm of 2010, with its brooding synth wash and expressive piano. Inescapably for a 2023 album called From Gaza, With Love, the heartbreak runs through multiple channels. [9]

[Read, comment and vote on The Singles Jukebox ]

[serenityinself]

“Always wishing it was me

Late nights and the trauma

Eating away at my soul

Feeling guilty that I’m not there,

Mama I wanna go home.”

[goalhofer]

2020 Olympics Egypt Roster

Boxing

Abdelrahman Oraby-Abdelgawwad (Cairo)

Yousry Hafez (Cairo)

Diving

Mohab El-Kordy (Cairo)

Maha Gouda (Alexandria)

Fencing

Mohamed El-Sayed (Cairo)

Alaaeldin Abouelkassem (Alexandria)

Mohamed Hamza (Cairo)

Mohamed Hassan (St. Louis, Missouri)

Youssef Musa (Cairo)

Mohamed Amer (Cairo)

Ziad El-Sissy (Alexandria)

Mohab Samer (Cairo)

Medhat Moataz-Bahgat (Cairo)

Nada Hafez (Cairo)

Yara El-Sharkawy (Cairo)

Noha Hussain (Cairo)

Noura Mohamed (Cairo)

Mariam El-Zoheiry (Cairo)

Gymnastics

Omar Mohamed-Fathy (Alexandria)

Seif Sherif (Giza)

Nancy Mohamed-Taman (Alexandria)

Login Elsaysyed (Alexandria)

Polina Fouda (Cairo)

Habiba Marzouk (Cairo)

Salma Saleh (Cairo)

Malak Selim (Giza)

Tia Sobhy (Giza)

Zeina Ibrahim-Sharaf (Alexandria)

Mandy Mohamed (Haarlemmermeer, The Netherlands)

Malak Hamza (Giza)

Karate

Ali El-Sawy (Cairo)

Abdalla Abdelaziz (Cairo)

Giana Mohamed-Farouk (Cairo)

Radwa Sayed (Cairo)

Feryal Abdelaziz (Cairo)

Pentathlon

Ahmed Hamed (Cairo)

Ahmed El-Gendy (Cairo)

Haydy Morsy (Dakahlia)

Amira Kandil (Cairo)

Swimming

Marwan El-Kamash (Alexandria)

Ali Khalafalla (Cairo)

Youssef Ramadan (Cairo)

Farida Osman (Cairo)

Nora Nabilazmy (Cairo)

Farida Radwan (Cairo)

Hanna Hiekal (Cairo)

Laila Mohsen (Cairo)

Maryam Maghraby (Cairo)

Sahd Samer (Cairo)

Nehal Saafan (Cairo)

Jayda Sharaf (Cairo)

Taekwondo

Abdelrahman Wael (Cairo)

Seif Eissa (Cairo)

Nour Abdelsalam (Cairo)

Hedaya Malak-Wahba (Cairo)

Tennis

Mohamed Safwat (Cairo)

Mayar Abdel-Aziz (Cairo)

Wrestling

Amr Hussen (Cairo)

Mohamed Metwally (Cairo)

Diaaeldin Abdelmotaleb (Suez)

Haithem Mahmoud (Cairo)

Mohamed El-Sayed (Cairo)

Abdellatif Mohamed (Cairo)

Enas Mostafa (Alexandria)

Samar Hamza (Faiyum)

Archery

Youssof Tolba (Cairo)

Amal Adam (Cairo)

Athletics

Ihab Abdelrahman (Kafr Saqr)

Mostafa El Gamel (Giza)

Mostafa Hassan (Cairo)

Mohamed Hamza-Khalif (Cairo)

Badminton

Adham Elgamal (Cairo)

Doha Hany-Mostafa (Cairo)

Hadia Hosny-El Said (Cairo)

Canoeing

Momen Mahran (Cairo)

Samaa Ahmed (Cairo)

Cycling

Ebtissam Mohamed (Dubai, U.A.E.)

Equestrian

Mohamed Talaat (Cairo)

Nayel Nassar (San Diego, California)

Abdel-Qader Saïd (Alexandria)

Mouda Zeyada (Alexandria)

Soccer

Mohamed El Shenawy-Gomaa (El Hamool)

Amar Hamdi (Cairo)

Karim Mahmoud (Giza)

Osama Galal-Toeima (Tanta)

Mohamed Salam (Cairo)

Ahmed Hegazy (Ismailia)

Salah Shalaby (Zagazig)

Nasser Maher-Abdelhamid (Mansoura)

Taher Mohamed-Mahmoud (Cairo)

Ramadan Sobhi-Ahmed (Cairo)

Ibrahim Abel (Mina Said)

Akram Elhagrasi (Kafr Saqr)

Karim El Eraki (Mina Said)

Ahmed Rayyan (Cairo)

Emam Ashour (El Mahalla El Kubra)

Mahmoud Gad (El Senbellawein)

Ahmed Mohamed (Cairo)

Mahmoud Hamdy-Attia (Cairo)

Ahmed El Fotouh-Mohamed (Cairo)

Nasser El Sayed (Cairo)

Mohamed Daader (Suez)

Handball

Yahia Omar (Giza)

Ahmed Hesham-Mohamed (Suez)

Ibrahim El-Masry (Cairo)

Wisam Nawar (Cairo)

Omar El-Wakil (Cairo)

Yehia El-Deraa (Cairo)

Hassan Kaddah (Cairo)

Seif El-Deraa (Cairo)

Ahmed El Ahmar (Giza)

Ahmed Mesilhy (Giza)

Karim Handawy (Cairo)

Mohamed Shebib (Cairo)

Ali Mohamed (Abu Dhabi, U.A.E.)

Mohammad Sanad (Cairo)

Mohamed El-Tayar (Riyadh, Saudi Arabia)

Judo

Mohamed Abdelmawgoud (Alexandria)

Mohamed Abdelaal (Cairo)

Ramadan Darwish (Tanta)

Rowing

Abdelkhalek El-Banna (Tanta)

Sailing

Aly Badawy (Alexandria)

Khouloud Mansy (Alexandria)

Shooting

Samy Razek (Cairo)

Osama El-Saeid (Cairo)

Mostafa Hamdy (Cairo)

Youssef Makkar (Cairo)

Abdel-Aziz Mehelba (Alexandria)

Azmy Mehelba (Alexandria)

Ahmed Zaher (Cairo)

Radwa Abdel-Latif (Cairo)

Maggy Ashmawy (Cairo)

Hala El-Gohari (Ismailia)

Alzahraa Shaban (Cairo)

Table Tennis

Omar Assar (Desouk)

Ahmed Saleh (Giza)

Khalid Assar (Desouk)

Yousra Abdel-Razek (Cairo)

Dina Meshref (Cairo)

Farah Abdelaziz (Cairo)

Triathlon

Basmla Elsalamoney (Gharbia)

[sbahour]

From Marwan Abdelhamid • Founder | Palestinian Content Creator | Artist

I had the immense pleasure of talking to Sam Bahour for my third episode of the Palestinian Excellence Podcast.

We talked about the implications of the Israeli occupation on the Palestinian economy, the Palestinian government's shortcomings in developing that economy, the rise of donor aid in Palestine and how detrimental it really is.

You can listen here: https://lnkd.in/dXHXVwk

You can connect with Sam on his blog: https://www.ePalestine.ps

#arabworld #entrepreneurship #podcast #menaregion #startup  #economy #leadership #diaspora #Palestine #Israel

[breakingthefourtthwall]

His Coachella act was marvelous

SAINT LEVANT. 5AM IN PARIS (2024).