#lebanese musician

[aeaeaexxzd]

[brunettedelulu]

THE Fairuz 🪕

[poisonsome]

Maritta Hallani 🇱🇧

ماريتا الحلاني

maritta

[ivovynckier]

A Gabriel Yared medley.

[limeade-l3sbian]

Happy Pride Month to all my lesbians! But especially...

closeted lesbians

lesbians who hate summer

gnc lesbians

out lesbians in conservative areas/states/countries

divorced lesbians

lesbians who know how to play poker

lesbians with PCOS

butch4butch lesbians

lesbians with a name that always gives them trouble when filling out forms

detrans lesbians

brown lesbians

lesbians raised by their grandparents

lesbians with disabilities

lesbians with chronic pain

fat lesbians

touch deprived lesbians

lebanese lesbians

lesbians in recovery

lesbians who hate seafood

lesbians still in their addiction/disorders

undiscovered musician lesbians

lesbians with kids

older sister lesbians

rural living lesbians

black lesbians

lesbians with a lazy eye

40+ lesbians

intersex lesbians

lesbians who can't/won't drive

lesbians in the trades

lesbians who play softball

lesbians who hate baseball

lesbians with felonies

lesbians with active warrants against them

lesbians with no sense of direction

lesbians under 5'3

lesbians who don't know where their house/car keys are at this very moment.

lesbians who ALWAYS know where their house/car keys are, including at this very moment.

💜MUAH. HAPPY PRIDE.��

[secular-jew]

In 1920, Syria Palestina was a Roman-named colony or region, not a country, (aka Palestine), stretching from Iraq to southern Syria, and of course, there was no country called Jordan. The word Palestine was 100% derived from the Hebrew name for the Philistines. There is no evidence of a written language left by the philistines and the only name that they were known by was the name given to them by the Hebrews at the time. The evolution of the word went something like this:

פלש—פלישתים—ארץ פלשת—סוריה פלסטינה/פלשתינה—פלסטין/פלשתין

PaLaSh—plishtim—the land of paleset—Syria Palestina (the name given to the land of Israel and Judea as a punishment by the Roman)—- Palestine

PaLaSh is the Hebrew root word for invade meaning we called the sea fairing invaders by their actual name, invaders

Important to know that the Arabs absolutely DENIED ANY RELEVANCE and would not ascribe and meaning re: "Palestine" for themselves.

Arab nationalists in the post-WWI period ADAMANTLY rejected the designation. Arab spokesmen continued to insist that the land was, like Lebanon, merely a fragment of Syria. On the grounds that it dismembered an ideal unitary Arab state, they fought before the Anglo-American Committee of Inquiry and at the United Nations. The Arab historian Philip K. Hitti informed the Anglo-American Committee of Inquiry that “there is no such thing as Palestine in history.”

In 1937, Awni Bey Abdul-Hadi, founder of the first Palestinian Arab political party, testified to the Peel Commission, "There is no such country as Palestine. 'Palestine' is a term the Zionists invented. There is no Palestine in the Bible. Palestine is alien to us."

In May 1956, Ahmed Shukairy, who became the first head of the Palestine Liberation Organization (at a time when Jordan had annexed the "West Bank" and Egypt controlled Gaza), declared to the United Nations Security Council, “It is common knowledge that Palestine is nothing but southern Syria.”

In February 1970, Prince El Hassan bin Tala of Jordan, stated to the Jordanian National Assembly that "Palestine is Jordan and Jordan is Palestine; there is one people and one land, with one history and one and the same fate." Seven months later, the PLO attempted to take over Jordan, lost, and were unceremoniously, kicked out.

In 1977, PLO Executive Committee member Zahir Muhsein stated, "The Palestinian people do not exist. The creation of a Palestinian state is only a means for our continuing struggle against the state of Israel for our Arab unity. … In reality there is no difference between Jordanians, Palestinians, Syrians, and Lebanese."

One might argue that this particular group of Arabs established, sometime in the mid 1960s, a political identity as "Palestinians," when Arafat returned from strategic partnership meetings with the Soviets communists who were attempting to gain a larger foothold in the region, and advised him how to use "Palestine" identity as a cudgel against Israel.

What they are NOT is "ancient" inhabitants of the region which, under Ottoman rule, was also dubbed "Syria-Palestine." What they are NOT is any sort of distinct ETHNIC group—like the Judeans (Judea/Samaria/Israel), the Phoenicians (Lebanon), the Kurds, the Druze, or the Circassians. They are Arabs, sharing the language, culture, religion, cuisine, ethnic group, etc. of the people of Syria, Lebanon, Jordan, Egypt, and Saudi Arabia. Prior to the 1960s, before the PLO was created, there were ZERO Arabs self-identifying as Palestinians. During the 19 years that Jordan controlled the so-called "West Bank" (Judea and Samaria, which had been cleansed of Jews by the Jordanians) and when Egypt controlled Gaza, there was no movement to create a "Palestinian" state.

Attached is a photo of the Palestine Symphony Orchestra in 1936, which consisted of 73 jewish musicians, and conducted by none other than Arturo Toscanini (born in Parma, father was a tailor). Toscanini was the music director at La Scala, before spending spent 7 years conducting the New York Metropolitan Opera (1908-1915) and the New York Philharmonic (1926-1936). He lived out his latter years in NYC, about a 1/2 mile from where I lived for a decade from 2005-2015 in Riverdale (Bronx), which is now called Wave Hill, a non-profit cultural institution and botanical garden, located on 26 acres adjacent to the Hudson River.

[fcsources]

for lack of a better way of putting it, do you have any suggestions under 30 for a guy who kind of just looks like a weird loser?

𝙝𝙚𝙡𝙡�� 𝙯𝙚𝙥. 𝙞 '𝙙 𝙡𝙞𝙠𝙚 𝙩𝙤 𝙥𝙡𝙖𝙮 𝙖 𝙜𝙖𝙢𝙚. the way this made me laugh -- ! i love this so much lol. of course, lovebug. this isn't a type of character i usually cast so i wanted to give a few more options than normal in case some of them suck. i hope you find something here that works for you 🫶🏻

Aidan Gallagher ( 2003, actor, white/Jewish )

Anwar Hadid ( 1999, model, half Palestinian )

Bo Burnham ( 1990, actor, white )

Caelan Moriarty ( 2001, musician, half Japanese )

Elliot Fletcher ( 1996, actor, white, trans )

Ewan Mitchell ( 1997, actor, white )

Finn Wolfhard ( 2002, actor, white/Jewish )

Fionn Whitehead ( 1997, actor, white )

Griffin Gluck ( 2000, actor, one quarter Japanese/Jewish )

Harris Dickinson ( 1996, actor, white )

Jackson Pace ( 1999, actor, white )

Jaeden Martell ( 2003, actor, one quarter Korean )

Kim Min Jae ( 1996, actor, Korean )

Lucas Lynggaard Tonnesen ( 2000, actor, white )

Nat Zang ( 1996, actor, white )

Patrick Gibson ( 1995, actor, white )

Tamino Amir ( 1996, musician, one quarter Egyptian && one quarter Lebanese )

Thomas Brodie-Sangster ( 1990, actor, white )

Tom Glynn-Carney ( 1995, actor, white )

Will Poulter ( 1993, actor, white )

Willem De Schryver ( 2001, actor, white )

Zhong Chenle ( 2001, musician with acting resources, Korean )

[eretzyisrael]

by Seth Mandel

There are several levels, then, of unethical behavior here. Most of the commentary has focused, understandably, on the journalistic malpractice at play. The Times even admitted publicly that the reporter, Natasha Frost, had “inappropriately shared information with the subject of a story to assist the individual in a private matter, a clear violation of our ethics.”

Others have focused on the fact that Frost had touched off a massive wave of anti-Semitic harassment that has yet to taper off. Some people went into hiding. Others had to move. One family received a picture of their five-year-old daughter with a note that said “We know where you live.” Jewish actors were kicked out of their troupe; Jewish musicians were fired; Jewish storefronts were vandalized. In total, the personal information of about 600 Jews was released into this atmosphere.

But there’s more to contemplate here. The story Frost ultimately wrote painted the group of Jews as a racialist pressure gang whose objections succeeded because the group’s target was radio host Antoinette Lattouf, a Lebanese Jew-baiter. The broadcaster who’d hired the Lattouf ended up cutting her temporary gig by a couple days after Lattouf ignored directives to avoid Jew-baiting on social media. So the targets of anti-Semitism were presented as racists for objecting to the anti-Semitism that actual racists were subjecting them to.

This is a common theme of anti-Israel propaganda. The fabricated narrative of decolonization holds that the millennia-old Jewish community from Judea is actually a century-young European project, despite the hilarious fact that the name “Palestine” is literally a European settler creation. (This is called psychological projection, and Israel’s enemies are addicted to engaging in it.) In part, this is because modern progressive ideology requires every situation to be shoehorned into a racial binary, despite the ahistorical nature of this misunderstanding of the concept of race. Progressives simply hold up a color palette to any dispute and assign places in a permanent global race war.

Another problem with the Frost saga is how a private support group for grieving Jews is remodeled in the press as the flexing of Jewish power and control. Jewish organizing is made into nefarious lobbying. Intra-communal solidarity is presented to the world as the protocols of the elders.

[leaves-fall-down]

Hate to say it but the overlap of "has a fanbase that heavily values their writing abilities" and "has a fanbase that deliberately detaches/miscontrues/borderline insults/fetishizes the singer's identity and inspiration from their artistry in an effort to pretend the music is closer to what the fans think they should be" venn diagram is not only just a straight up circle, but has taken over many of the same musicians and the fandoms overlap with each other to such an extreme extent that it sometimes becomes exhausting to consume any of their music as independent artists and then discuss them, let alone seeing how a lot of these artists have a "collective" fanbase that treats them all so bizzarely. Like do y'all not see the pattern with how you always feel some need to focus on certain "nicer" aspects of musicians' identities and entirely disregard others, or be all weird about it when you do acknowledge it? I'll provide examples, hopefully you'll see what I mean.

Tamino is an Egyptian and Lebanese man, at the same time he is Belgian, and that influences his art and it's so weird to just focus just on Persephone and his more "western" songs, or compare his nose to just a bunch of western white men. Hozier is Irish and inspired by Black American musicians who make political music and it's weird when you guys pretend he's just the fairy bog boy, which tbh you also likely wouldn't be saying if he was from Pennsylvania or Manchester or whatever, you're absolutely doing it with him because he is Irish, plenty of other artists write nature themes and don't get that weirdness put on them, you're doing it because he is Irish. Ethel Cain is a Southern American and writes from that very specific experience and has religious themes that influence her music and isn't just some "backwards" "hick" "redneck" (in a derogatory, insulting sense) girl that a lot of you clearly view "people like her" down south as. Måneskin has written in English since the beginning of their career, clearly takes inspiration from English and American musicians, and isn't entitled to write in Italian just because you think they should or because their native language ~fascinates~ you as an english speaker. Mitski often writes from a very VERY obvious perspective of being an Asian American woman and yet so many of you pretend that her songs about that experience are innately applicable to all of womanhood when they clearly aren't. They just aren't. They are about her experience as an ASIAN AMERICAN woman.

There are other artists y'all do this sort of shit to too (mainly Black ones!!) and it's absolutely annoying as shit to see that you can't just appreciate their identities for what they are and still need them to be closer in proximity to you and your identity or needs to "fulfill" something for you as an outsider, to the point of being delusional about the fact that this is all first and foremost their music and that it operates with their identities and they're all fantastic writers because on various levels they're being vulnerable about their identities and selves. That's not to say you can't pull your own meaning from the songs they write or whatever, but when discussing the artists themselves a lot of you are showing your asses with how you view "people like that" and how even though you're not being weird or bigoted in an obvious, deliberately mean sort of way, a lot of you still have shit to unpack and look at before you engage with them and their stuff. I mean Jesus christ even the most surface level understanding of erasure, fetishizing, and sterotypes can show what y'all are doing subconsciously, I'd hate to see how you talk about these people's identities when it's someone you don't see as both a product yet (parasocially) a friend, but is instead someone you hate.

[fairuzfan]

this might be a weird question but would it be weird for someone who's not palestinian to make art about/for palestine?

It's not weird AT ALL! Fairuz, the musician I sometimes talk about and who I based my URL off of, is Lebanese and she has a whole album dedicated to Palestine!

So feel free!!! Write and sing and draw and film!!! We love when we see people love our land and culture <3

[bentbladlsham]

The Palmyra Hotel in Baalbek, Lebanon was damaged today in an Israeli strike and 40 people have been killed over the past day in the Beqaa Valley.

This hotel dates back to 1874 when it was established by an Orthodox Greek businessman from Constantinople due to its proximity to the ancient Baalbek ruins.

The hotel hasn’t closed its doors once since it opened 140 years ago despite political turmoil and 15 years of a long and brutal civil war in Lebanon.

Well known musicians, royals and heads of state have stayed at the hotel. Some notable guests have been legendary lebanese singers Fairouz and Sabah, as well as Nina Simone, Ella Fitzgerald, Albert Einstein and George Bernard Shaw.

On top of having no regard for civilians in Lebanon and Gaza, Israel has also been destroying our history and culture.

[fatehbaz]

Walk down Washington Street in Lower Manhattan between the Battery Parking Garage and Albany Street, and you’ll see virtually no signs that this area was once home to one of the largest communities of Syrians in the United States. Groups [...] have worked tirelessly to preserve the three remaining buildings [...] that stood during the heyday of New York City’s “Syrian Quarter,” or Little Syria. [...] From 1890 to 1940, Little Syria stood as the mother colony to Syrian and Lebanese communities across the United States. The three-block radius around Washington and Rector was home to newspapers, magazines, restaurants, jewelry shops, banks, barbers, grocers, churches, a mosque, record stores. [...] This was the Mahjar, America’s Arab diaspora. [...]

Tucked within these streets were three Arab American record labels -- Maloof Phonograph Company in the 1920s and 1930s, A.J. Macksoud’s Phonograph Company from the 1910s to the 1930s, and Alamphon Records in the 1930s and 1940s -- now among the most recognizable to record collectors.

---

These labels filled an important cultural gap -- by the 1920s, the US’ two big phonograph record companies, Victor and Columbia, cut back on recording and selling Arab music. And while companies like Beirut-based Baidaphon recorded Syrian and Egyptian musicians and sold their records at home [...]in the early 1900s, by the 1910s that was changing. Mahjari musicians in the United States began to record music themselves, for mahjari audiences.

The music that New York City’s mahjari artists performed from the 1910s through the following 30 years included recorded poems, folk songs from the homeland and original compositions telling of loss, love, [...] and favorite foods from home; the names, tunes, beats and rhythms connected them to their roots and shaped their nostalgia for what they had left behind. There was much to miss, even before leaving what was then known as Ottoman Syria: today’s Lebanon, Syria, Jordan and Palestine. The region’s silk industry and other trades were in decline. Political instability and poverty were on the rise. Thousands of former Ottoman subjects soon found themselves in New York City, Boston, Detroit. [...]

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[T]he performing and literary arts movement that gripped Egypt and Greater Syria during the late 19th and early 20th centuries. That movement was the Nahda, the Arab Renaissance.

The arrival of immigrants from Greater Syria coincided with a boom of gramophone machines, phonograph cylinders and flat-disc records.

And as Arab musicians in Cairo and Beirut recorded music throughout the 1890s and 1900s, thousands of miles away in Little Syria a precocious Alexander Maloof began composing and publishing music for the piano. [...] From a young age, Maloof listened to traditional Arabic music such as mawwal, Arab folk music forms such as the ataaba, and experimented with fusing these with American marches, fox trots, and ragtime.

Meanwhile, by 1907, 29-year-old musician Abraham J. Macksoud, now using the moniker A.J. Macksoud, opened a phonograph record store in Little Syria. [...] Columbia and Victor had already begun to record the songs of mashriqi musicians back home [...], but as late as 1911, no Arab or Ottoman immigrant to the US had recorded specifically for a mahjari audience. That was about to change.

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On 24 July 1913, Alexander Maloof, now a well-accomplished songwriter and composer, recorded the piano solo B 13834-1, #17443 Al-Ja-Za-Yer (“Algeria”) for the Victor Talking Machine Company.  With Maloof's song, Mahjari musicians had now found a home for recording their music. [...]

The number of Syrian Muslims to emigrate to the United States remained relatively small during the first wave of emigration from 1880 to 1941. Still, in 1916, Columbia recorded one of only a few Syrian Muslim immigrants, Mohamed ZainEldeen. Born in Homs, Syria in 1892, ZainEldeeen arrived in New York in May 1912.  By the fall of 1916, he had cut seven songs on six double-sided discs for Columbia [...]. As the number of Arab immigrant and Arab American musicians grew on Columbia and Victor’s rosters, A.J. Macksoud moved and opened two new record shops at 52 Broadway and 89 Washington Street. [...]

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The 1920s marked the era when Victor and Columbia lost their monopoly on lateral-cut recording technology, but it is also the period they slashed efforts to record and issue new Arabic-language music. To fill in the gaping hole left in the industry, [...] pianist and composer Alexander Maloof established his own record label. He kept up a break-neck pace appearing on radio, running his record label, composing songs and selling sheet music to publishers.

In October 1923, Maloof finally recorded his “Egyptian Glide” and a second track, “Pharaoh,” on his label’s pressing company, Gennett Records. And despite its long hiatus of recording Syrian American artists, in 1926 the Victor Talking Machine Company even brought Maloof back into the studios, this time with his larger orchestra, to record “Desert Wail” and “Kurdistan.” [...]

On his self-titled label, Maloof recorded former Victor recording artist Ilyas Wardiny, who became one of the label’s most popular singers. [...]

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Farid Alam al-Din (anglicized Fred Alam) founded the last of Little Syria’s record labels. For years, historians, ethnomusicologists, and even the most experienced scholars presumed Maloof and Macksoud shared the position of Washington Street’s only Arab American record labels headquartered in the heart of Manhattan.

But as the Great Depression saw Maloof and Macksoud shut down their labels by 1935, Fred Alam opened his store and launched his Alamphon Record label from 81 Washington Street.

---

By then, Little Syria as a whole was already in some form of decline. Whether Alam bought out A.J. Macksoud’s inventory or launched his store anew, a 1935 newspaper article read: 

"The Syrian quarter of the town, which for years boasted one of the country’s greatest rag centers, has practically vanished. What remains is in Washington Street down by the Battery. One of the best known is Alfred Alam’s Oriental gramophone record shop. Alam’s phonograph record business is perhaps the only business of its kind not diminished by the radio. [...]”

Little Syria’s Nile Restaurant and the Son of the Sheik restaurant commanded special attention, as did Alfred Alam’s shop. The paper noted “the piles of Egyptian and Syrian Phonograph records at A. Alam’s store. [...]” And yet, that same article also reported the changes that would soon mean Little Syria’s demise, as development and urban renewal programs took hold in Manhattan's Lower West Side.

The construction of the Brooklyn-Battery Tunnel in the 1940s meant the destruction of the tenements that once housed thousands of new immigrants and Syrian Americans. The buildings that contained many of the community’s businesses and meeting places steadily disappeared, never to return. [...]

Few traces remain, except the music records that subsequently scattered across the US, from owner to owner.

---

Text by: Richard M. Breaux. “Songs of nostalgia in New York City’s long-lost ‘Little Syria’“. SyriaUntold. 5 March 2021. Article part of SyriaUntold’s ongoing series on Syrian music. [Bold emphasis and some paragraph breaks/contractions added by me.]

[mithliya]

I have a question about music! I want to get more into Arabic music (women specifically) but the only Arabic musician I know of right now is Faouzia, who is AMAZING, however she doesn’t have a lot of music in Arabic. She uses cultural inspiration in her music (she’s Moroccan), but only has a couple songs with one Arabic word in it (Habibi & Puppet). I like listening to music in other languages and was hoping maybe you had recommendations for Arabic female musicians

never heard of faouzia! thanks for informing me of her. and yes im gonna first name some famous arabic pop singers and then ill move onto some that i also like:

nancy ajram

this woman is probably one of the biggest popstars in the arab world and has been for decades. she has a lot of great hits and id honestly just recommend going thru her music esp her older stuff bc you might like something in there. shes a lebanese christian

2. haifa wehbe

not a fan of hers but she has some hits and shes also one of the most renowned popstars.

3. myriam fares

also one of the bigger popstars, she also tends to play with a lot of arabic genres. shes mostly known for her dancing i think, shes quite talented but im not big on her music (im just sharing my faves btw so this is one of my faves and its clearly awful quality)

4. ruby

i looooooove ruby she was basically the only dark-skinned woman i saw in mainstream arab media and shes an awful dancer but makes amazing music and is also an actress (and ive heard shes quite good at that too) and is a good singer. also afaik shes one of the few female artists that didnt get plastic surgeries (if she did its so mild that its not noticeable). shes egyptian (previous singers i shared are all lebanese)

5. shadia mansour

one of the only female rappers i know of, i dont know much of her music but this song is really good and the lyrics are amazing. shes palestinian & british and this song is about palestinian resistance basically

6. elyanna

this one is more modern than my other recommendations fhsdfhds but shes quite good, iirc shes half palestinian half..chilean? i think?

7. samira said

shes north african, i Think tunisian, and one of the bigger popstars from the 2000s. i dont really listen to most of her music but this one's a classic:

8. fairuz

this one's quite old-fashioned but definitely a classic and her music continues to be played a lot today... especially by lebanese people. shes a lebanese singer who i think was really prominent for decades starting from the 50s. not sure how her music will be perceived by someone who didn't grow up hearing it tho. shes also lebanese christian

9. luka salam

only know one song of hers but its a nice one, the lyrics are great and i was obsessed with it at one point. i know shes got others. idk where shes from tbh

10. maryam saleh

i only know one song of hers too but its also a nice one. shes egyptian

adding more in reblogs bc i ran out of links to add lol

[ivovynckier]

A bit from Gabriel Yared's soundtrack for "Message in a Bottle".

Yared played the piano himself for the recording.

[yasyassie]

Don't know if anyone will see or care about this but I just wanted to share with the world my deep love for the masterpiece that is the album Ahmad Al Arabi It has been a part of me since my childhood and now that I've grown up I realise just how great it is and I want to share it with the world. I don't think any other music and lyrics together make me feel like this one does. Ahmad Al Arabi is an orchestral album so it's a cohesive storyline, both when it comes to the music and to the lyrics. I recommend listening to it together since it's basically listening to a concert. Even if you do not understand a word of arabic (although there are many translations online), I believe that music like this trascends all languages and you can feel it in your soul any way. Darwish's poetry is a way to engage with Palestinian resistance through art, so I wanted to start posting about the songs on this album, sharing the words and the music. I hope that someone out there will try and listen to it, maybe discover new artists, or maybe remember childhood memories like me. I may or may not have chosen to start with this one because my name is Yasmine...

اذهب عميقا اذهب عميقا في دمي واذهب عميقا في الطحين لنصاب بالوطن البسيط وباحتمال الياسمين

محمود درويش

Go deep into my blood, Go deep into the bread, So that we will have A simple homeland And a dream of jasmine yet to come...

A poet by Palestinian poet, Mahmood Darwish (1941-2008)

Translation by Umfalastin

Music by Lebanese musician, oud player and composer Marcel Khalife

[apollos-olives]

I hate it when people criticise some falastini celebrities for not saying anything. They have the right to be terrified. Have you seen what the Israeli have been saying about Bella and Gigi Hadid? Even though Dua Lipa and Mia Khalifa aren’t Falastini, they are Albanian and Lebanese respectively, and they have been targeted as well. Saint Levant, a Palestinian/French/Algerian/Serbian musician is also being targeted by Israel now. An actor by the name of Michael Karim Malarkey is a Palestinian Lebanese who was raised in Britain, was on this show called The Vampire Diaries and majority of his coworkers are Zionists. The most prominent Zionist was his former friend Nate Buzolic who repeatedly calls him a terrorist and tags him in anti Arab sentiment stuff and also said something along the lines of “to be a real Christian, you have to be a little Islamophobic”

So I don’t blame any Falastini celebrities for being afraid right now

we must try protecting and showing our support for the people in danger right now. none of those people should be harmed for being on the right side of history. i pray for their safety