This text is written by Raafat Majzoub [the same guy who wrote our biography]- check out his blog: http://leit-mo-tif.blogspot.com, and suscribe :)
we love ryam idriss. take that google!
The age of being born, is dead. Talent is dead. Prophets are boring to negligence, dismissed upon their attempts of communicating Nirvana. We are no longer born gifted, we are made. You still don’t like Haifa though.
The peacock-nosed-born-ingeniously altered feast is the new Leila. Haifa has become a household exclamation mark, question mark, comma and full stop, and still is riveted with the connotation of Arab deterioration. People, it’s all about Darwin. In a world where the Opera House in which Oum Kolthoum fluttered was burnt to make parking space for illiterate drivers may not and cannot criticize this product. It is invalid.
Haifa is not here to replace Oum Kolthoum, if anything, she is of the lineage of Souad Hosni. So, Khalli Balak Min Zouzou, and give me a break. I do not understand the acceptance of this, not that. Most of the arguments I get would be, “but Hosni was an actress, so it wasn’t necessary for her to have a good voice”. *beep* Haifa is an actress, now what?
Ok, seriously.. now what? Is that it? Nomenclature. Well, ok – then Feiruz is the diva of the reminiscent dull – we still like her – Dalida is the tacky glitter and broken Arabic – we still like her – Egyptian black-and-whites have the most luscious extravagantly erotic belly-dancing, and five-year-olds are allowed to watch. What is this all about? Cleavage? Drugs? Sex?
Look around, thank you.
It seems to me that, in herself – in her essence, Haifa is not the issue. The problem lies in a social chunk – the middle east – that is potty trained to live in the past, to not-do instead of do, to think instead of to execute, and get married instead of buying contraception. Fuck you. Yes you, fuck you – and not the nice fuck you.. the one that you moan to, the one that you like.. no the Fuck you.. the rape fuck you – the one that’ll screw your psych till you fucking drop fuck you; this Fuck you.
Let’s keep Allah off Melody Hits and the likes, this will not be tagged “haram”. If anything should be taken into a juridical dimension, let’s take Haifa, the product and test it. If it works, you shut up.
_woops, it’s already done..Haifa works. And no, it’s not because sex sells, although it does, but a lot more erotica was put into ‘projects’ that died after their first pilots. Ehm, Najla? So shut up.
Now for the readers that are unzipping to AbdelHalim and Asmahan, please do not let me interrupt you – and as a mitigation to “heads off” me – this is not at all about music. Haifa is not about music. She is not about the tick-tack-toe of melody, nor the conservatoire reps, nor the breakthroughs in goose-bump production. Haifa is a cultural product, parallel to any other cultural produce with its own set of rules and regulations that it is liable to.
If we want to blow this out of proportion, Haifa is one of the few of our products that actually worked, besides the shisha. What have we done, as Arabs, since our Golden Age? I’ll tell you. We
A. exported everyone intelligent
B. threw stones at people that felt like thinking
C. put titles on each other so we would know who to kiss and who to shoot
D. made more lines on our atlas to know just exactly where we end and where we begin
E. called onto people beyond the oceans to teach us how to shit
F. made more mosques, more sheikhs to tell us bad things about America the devil
G. are running out of petrol, with nothing else in mind
H. etc. is an understatement
So yes, my lovelies, it is not about Haifa, it is about this ridiculous phobia of the unfamiliar, of the unpracticed, the unattained and the failure to launch into a system that is not supported by gossip and contacts. It is this, the Kulhaifathum Obstruction, the haphazard orientations to invalid references to camouflage a lack of analytical or production capability, that kept us is keeping us and will keep us from ever doing anything. Fuck y*some text missing*
Mashrou' Leila - Raksit Leila [ official video by yelostudio]
Mashrou' Leila is: Haig Papazian [violin] / Andre Chedid [guitar] / Firas Abou Fakher [guitar] / Carl Gerges [drums] / Omaya Malaeb [keyboards] / Hamed Sinno [vocals] / Ibrahim Badr [bass]
video directed by Jad Sarout / Chadi Aoun / Yasmine Sarout
lit/shot by Nadim Saoma
additional footage by Kassim Dabaji
produced by Maher Safar
set/props designed by Abdallah Hatoum
edited by Chadi Aoun/Yasmine Sarout/Ely Dagher
music produced by B-root productions [ Jana Saleh / Raed el Khazen ]
Well we've been quiet for a while, so I thought I'd throw in some new music to check out. These guys are twins, they both got Scholarships fromt he John and Alice Coltrane Foundation. Remy plays the saxophone and Pascal plays the piano. They've got some really cool jazz tracks, (I love 'house without a door') and they've also got some more electronic experimental stuff.
Mashrouʼ Leila is not a bandʼs name. It is not a proper noun per se; Mashrouʼ Leila is Arabic for ʻan overnight projectʼ lusting out a microphone, a violin, a bass, two guitars, drums and keyboards. It started out as a music workshop at the American University of Beirut in 2008, an open platform for students of architecture and design, somewhere to experiment with sounds and make things audible. Haig Papazian, Carl Gerges, Hamed Sinno, Omaya Malaeb, Andre Chedid, Firas Abou Fakher and Ibrahim Badr have enjoyed this sound fetish savoring its façade of nonchalance and feeding on its lack of genre – sustaining their collective as Mashrouʼ Leila, an experiment.
You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in riﬂes and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.
In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.
In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They are currently recording their debut album with B-root Productions, to be released in December 2009. The music in the album is a reclamation of the aftertaste; sequel-ing a dose of Beirut.