Zeid Hamdan -independent music scion -talks about his arrest over the song “General Suleiman”

ARTICLE BELOW: Blogger and music scholar Angie Nassar writes on the Beirut-based website NOWLebanon about the government detention and subsequent release of Zeid Hamdan – the self-described “gardener” of the independent music scene in Lebanon, co-founder of the electro-Arab fusion act Soap Kills and his most recent musical venture Zeid and the Wings. (We featured Zeid in a Beats and Breath article in March 2010.)

Hamdan was arrested for his song “General Suleiman” which the Lebanese government found was a direct condemnation of Lebanon’s president. It’s a law clearly enforced in a selective manner considering the amount of slander bandied about by politicians and political parties in Lebanon on a daily basis.

Although I’m not in the habit of re-posting other people’s articles on Beats and Breath, this article is poignant when considering a panel discussion on Alternative Music in Lebanese Culture hosted on Friday, July 29 by AltCity (a media/tech/social impact collaboration space (launching this fall) and organized in collaboration with over 15 community partners) and moderated by local music blogger/musician Omar al Fil.

The panel included Nassar, MC Chyno from Lebanon’s live hip-hop crew Fareeq al Atrash, Mohamad Hodeib a.k.a Walad (guitarist, vocalist, and main songwriter of local band Wled el Balad), writer and urbanist-scholar Jad Baaklini, and Zeid Hamdan in his first public appearance since being released from jail.

Among the things we discussed: “personal” definitions of what “alternative music” means, and further what it means in the Lebanese and Arab contexts; concepts of censorship – both governmental and self-styled censorship; the fact that musicians in the Arab world and in Lebanon will face increasing encroachment by corporate labels and the commercial market as their music takes on more prominence.

Enjoy the article.

Zeid Hamdan sings with his band, “Zeid and the Wings.” (Photo by Tanya Traboulsi via hansharling.blogspot.com)

Though his song, “General Suleiman,” was released nearly a year ago, Lebanese musician and producer Zeid Hamdan was arrested over the track and charged with insulting the president on Wednesday.

After a huge outpouring of support from fans, friends and activists, the charge was dropped and he was released later that evening.

This morning I spoke on the phone with Hamdan who talked about the implications of his arrest and the boundaries of free speech in Lebanon.

“This is a big issue, but it’s not about me. It’s about what’s allowed and what’s forbidden in this country… Are we not allowed to go further than this song? This is crazy. This song is so innocent. And if I saw the president today, I would say the same. I truly believe that military power should not interfere with political power. They are two separate institutions. It is essential that we learn that if we want to build a democracy.” (Read more about the song and its lyrics here.)

“If you fear something, express it. Trigger a debate. But don’t be afraid of standing for your ideas. Just look around you. Look at Syria, look at Egypt, look at Tunisia, look at the whole Arab world. People are dying for their ideas,” he added.

Hamdan said he was asked to go to the Justice Ministry for questioning twice last week. He received a third call to return to the ministry on Wednesday.

“I thought it would be more questions. They told me I was going to meet with the judge and that he would decide whether to press charges. I didn’t meet the judge. They just said I was arrested and they put me in handcuffs directly.”

Hamdan said authorities found out about the song after Italian filmmaker Gigi Roccati, who directed the music video for “General Suleiman,” mailed his show reel to Lebanese ad agency Leo Burnett. The DVD never made it to the agency. It was picked up by someone from Lebanese Customs.

“I don’t even think he [President Sleiman] was aware I was arrested, personally, because this is not good publicity for him.”

“I have a feeling that all this is just a mistake. Someone wanting to do good with the president but not being clever or someone wanting to harm the president and give him a bad image. I don’t know, it’s so stupid, you know. This whole thing is too much.”

Despite his detention, Hamdan says he’ll continue making music and spreading his message to anyone who will listen.  “I write with inspiration from inside to face something I feel it. As long as I don’t attack someone in an unfair way and I don’t give my music to any political party… I’m trying to say this music is for everyone. This song is for everyone. In Egypt they sing it. In all the Arab country’s where they have issues with the military, they sing it.”

“I won’t be more political or less political. I’m not changing anything,” he said.

Hamdan expressed gratitude to everyone who rallied for his release on Wednesday: “ I want them to know that they played a role in setting me free so that they have a role to play in the country as a voice, even if they’re alone they count.”

He also relayed this message: “I want [the people] to feel free to express or fight for their ideas, whatever they are. And so I just want to tell the people not to be afraid and not to feel lonely because we all want the same things and will all fight together for the same things.”

“I hope any musician will keep on spreading good messages, positive messages for the country or the region.”

Hamdan and his band, Zeid and the Wings, just launched their self-titled album last week.

Zeid also heads up the Lebanese Underground, a collective of artists from the country’s alternative music scene.

Follow Zeid Hamdan on Facebook.

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Article originally published on the website NOWLebanon. All rights reserved ©

Radio Documentary “Rhymes to Revolution – Soundtrack to the Arab Awakenings” airs July 4

In anticipation of the on-air date for my radio documentary “Rhymes to Revolution: A Soundtrack to the Arab Awakenings,” Beats and Breath will release articles in the next two days to preview some of the amazing material that will be covered during the 30-min feature. In the days following the July 4 air date, Beats and Breath will feature transcriptions of the longer format interviews conducted with members of the Arab hip-hop community, some not included in the documentary, as well as analysis by scholars and analysts on the political implications of the latest developments in the region.

The documentary which is a Free Speech Radio News production with editor Shannon Young and technical producer Rose Ketabchi, will be aired on more than 150 stations in the United States and worldwide. The documentary was funded through the community media fundraising site Spot.us. Thanks to David Cohn at Spot.us for his continued support. And Beats and Breath particularly wants to thank all the friends and supporters who donated their time and money to help fund and promote this documentary, and the valuable work being done by all the members of this burgeoning artistic movement. A longer list of credits will follow the actual posting of the documentary on this site.

An image for the Sami Matar produced song #Jan25 featuring Omar Offendum, The Narcicyst, Ayah, Amir Sulaiman & Freeway

 

The Soundtrack of The Arab Spring

• By FSRN Documentaries

Documentary Description

The so-called “Arab Spring” uprisings in the Middle East and North Africa have been driven by a largely disaffected youth demographic aged 18 to 30 that dominates the populations of every affected country. In Tunisia, Egypt, Libya, Yemen, Bahrain, Syria, Lebanon and Jordan, the youth have demanded an end to the rampant corruption, unemployment, lack of democratic rights, and government policies that stifle freedom of expression and freedom of speech. Echoing these demands have been the representatives of the Arabic hip-hop movement living in both the Arab world and in the Diaspora.

This documentary will examine the rise of Arab hip-hop as a soundtrack to the revolution from its beginnings with Tunisian El General’s song “Rayess La Bled (Head of State)” until today. It will include the voices of rappers in Egypt, Jordan, Lebanon and the Diaspora including the creators (Omar Offendum/The Narcycist) of the YouTube viral video #jan25  (pictured above) and the creators of the Egyptian rap video  “Rebel” (Arabian Knightz)

Interviews will be balanced with testimony from relevant political commentators, photographers, producers and voices from the Arab street in order to discuss how Arab hip-hop contributed to revolution and how it is still inspiring artists and protest movements in the US, and demonstrators in Libya, Bahrain, Yemen and Lebanon – who are still blasting Arab hip-hop anthems from their boomboxes as they fight Gadhafi’s forces in Libya, the security forces in Bahrain and Yemen and the Sectarian state in Lebanon.

 

 

 

 

 

Arab hip-hop’s Don of the Bass – exclusive interview with Johnny Damascus of Fareeq al Atrash

I interviewed John Imad Nasr aka Johnny Damascus -co-founder of Lebanon’s live hip-hop crew Fareeq al Atrash – one month after the release of their self-titled debut album on the Forward Music label last July, 2010.  This abreviated interview appeared in the Jordan-based men’s magazine UMen, and is being re-published after the debut of the Merass Sadek-directed music video featuring the Jazz at Lincoln Center hip-hop ambassador’s The Lo Frequency family with members of Fareeq al Atrash after a one-month workshop with The Lo and Lebanon’s hip-hop community last November in Beirut.

Mad respect to John for the time. Beats and Breath will soon release the writer’s edit of  The National article on Fareeq al Atrash’s debut album with interviews with the rest of the band in the weeks to follow.

In his Beirut studio - Johnny Nasr on his Fender (lens: Tanya Traboulsi)

BEIRUT – Johnny D has to be about the most humble figure in the Lebanese hip-hop scene. He’s a veteran of the 961 old-school and one of the architects of the burgeoning new Arab hip-hop sound. And…I’ve never seen John front; dude’s never been anything but kind and welcoming to both fans and critics.

John has witnessed hip-hop scenes come and go over the last 10 years in Beirut, and perhaps it is because of this transience that John has no delusions about Rap 3rabi and its place in the minds of the masses. In a sense Lebanese hip-hop and Johnny D have grown up together, and he’s taken the knocks and bruises and come out better for it.

That’s what makes the debut album of Fareeq al Atrash so special. Up until now, there’s been no real permanence to speak of musically. No real sense of history or continuity with the hip-hop scene here. With the exception of a few heads, Johnny D is showing the youngsters coming up that there is at least one musical forbearer.

The original version of Fareeq al Atrash – “the band name being a pun on famed Arabic singer Fareed Al Atrache” – was a purely funk-driven jam band that had its heyday between 2002 and 2004. Although it was a hint at what was to come, the band – and Johnny – went through some serious soul-searching after the death of percussionist, beat-maker and group co-founder Issam Raad in 2004.

A few months before the 2006 Israel-Lebanon war, inspiration struck when Johnny D met local MC, Edouard Abbas aka (El) Edd – who I called the MF DOOM of the Arab world in a November 2007 magazine article. The two struck up an instant friendship and spent the war building the foundations, both lyrically and musically, for Fareeq al Atrash’s current sound.

Now the group includes the band’s original guitarist Ghassan Khayyat aka Goo, two of the scenes strongest lyrical rap talents, Edd and Nasser Shorbaji aka Chyno – and Lebanon’s most gifted beatboxer Fayez Zouheiry aka FZ.

Of course, the unspoken story of Fareeq al Atrash’s debut album release is the backing of Forward Music, the Beirut-based label that features the visionary efforts of co-founder Ghazi Abdel Baki who is more well known for producing musicians like Charbel Rouhana (Oud) and Suffi singer Mustafa Said in what one local critic called “diverse, layered, genre-fusing world music.” (Baki also composed and arranged the horn section on Farreeq al Atrash’s debut album.)

Talking with Johnny D at his apartment in Beirut, he told me that Fareeq al Atrash was respecting Arabic and hip-hop musical traditions by signing with Forward Music.

Fareeq al Atrash in studio (left to right: Edd, Goo, Johnny D, Chyno, FZ) [lens: Tanya Traboulsi)

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BEATS AND BREATH: Let’s talk about something that is key for the growth of any music genre or scene – entrepreneurial risk-taking – I’m talking about label support. There’s your label Forward Music – and another one called Eka3 Records – that represents at least two risk takers. There’s certainly not an Arab hip-hop label. So tell me about Forward?

JONNY D: Let me just mention a record label that is now defunct but that did a lot of good work over the years.

B&B: Incognito?

JOHNNY D: Yeah, Incognito. They did a lot of good work over the years.

B&B: But Incognito was not a real label in the sense that they didn’t give their artists much backing or promotion, they produced, recorded and manufactured limited copies, but it was up to the artist to promote themselves. That’s not a real label.

JONNY D: Sure. It was run out of a CD shop. But the thing with Forward – to put it into context – they are celebrating their 10 year anniversary. In the Arab world, that’s impressive in and of itself.

Everybody at Forward is pretty much veterans from the music scene during the Civil War here and beyond. One of their musicians – Charbel Rouhana -  is like an idol to me. When I was 15 (now 30 years old) I went to one of his concerts just randomly and I was blown away.

His bass player, Aboud Saadi, who I think is one of the founders of Forward Music – he still works closely with them. Wow. For me to be part of a continuity with that musical history, I really felt like it was important for me to get signed with them.

B&B: Well that’s really rare. You don’t hear musicians talking about a label like this.

JOHNNY D: No you don’t. There not your typical kind of label. They really do embody a spirit of independence in a place where it’s hard to navigate. And they’re really trailblazers and go for the gusto. They really couldn’t give a shit for what’s established.

When Ghazi (Abdel Baki) started Forward Music, he’s said it was his mission to get Arabic music or even the pop music phenomenon out of the corn-ball phase that it was in at the time (and is still in to today). He wanted to make authentic, beautiful Arabic music again with totally organic instruments – and with classical arrangements.

I think about his work with Ghada Shbeir and his work with Soumaya Baalbaki. And Forward’s incredible work with Mustafa Said, the visionary Sufi singer. All those records are bold.

It was really flattering for them to consider us as a group. We’re the first hip-hop group they’ve ever signed. Our type of music appeals to a much younger audience than they’re used to – with the exception of Ziad Sahab (a local oud virtuoso).

If authenticity is a part of what makes hip-hop what it is – as Afrika Baambata would say – then I feel like we’re part of a very authentic scene here – of musicians and of like-minded, independent free-thinking people.

B&B: Do you think you’ll end up incorporating more of the T’arab or Arab musical influences into your funk stylings?

JOHNNY D: We actually have experimented with Arab musical strains. And we’re totally open to it. But the only reason we’ve shied away from it is because we kind of fear the gimmicky sound to it. Like as soon as you put some Oud into it or some Takasin (Johnny hums the melody.) Then you’re screwed. I just turn that shit off as soon as I hear it – no offense to anybody out there doing that.

For me Track 4 – Tighla Ma’ezzita – embodies a look to what could be a future sound.

(We listen to the track.)

What you might notice from this track is in a typical 4/4 beat, but it’s syncopated in a way that denotes a dabke (dance style) beat – without suggesting to people immediately that “Oh this is Dabke,” or this is very Lebanese. Somebody from anywhere can still listen to this and be like, “This is straight up hip-hop.”

But this is probably the most “oriental” track of the album – “oriental” with quotation marks of course. It combines funk and hip-hop and a local flavor and our local language.

“]

Fareeq al Atrash in John's Studio. [Lens: Tanya Traboulsi

B&B: Translate the song

JOHNNY D: It means it gets dearer to me, and becomes more important to me with memory – it weighs on my mind more heavily with time.

This song I’m really proud of and it’s “Middle Eastern” enough. I’ll definitely want to include for the future, artists from Forward Music on future records. But it wasn’t in the cards for the songs we chose.

We didn’t want this album to be a gimmick, and we didn’t want to throw it in there to satisfy anybody. We stuck to pretty much what we were best at, and the inclusion of horn arrangements on our album is pretty much an update for our sound I think.

B&B: I see that you pull from all sorts of rare-groove, and jazz elements for the backbone of Fareeq’s music. You pull from guys like Roy Ayers, Miles Davis, Funkadelic…name some other artists you’re pulling from.

JOHNNY D:  Man…Fela Kuti is one of the biggest influences both in terms of the music itself and in terms of music being political activism that’s real and can make a difference. I know we haven’t made much of a difference yet, but it’s my dream to be able to be part of a movement to emancipate and empower my people here.

B&B: And with respect to your people here at some point as you gain power and influence with your music, you’re inevitably going to come up against the powers that be. Especially if your lyrics are political – as they clearly are. Are you prepared for that – and what could happen in regards to things like censorship or jail time?

JOHNNY D: I am actually worried right now because a lot of lyrics on this record are not entirely acceptable to polite society. Although it’s important to note that there is no cursing on the record. But there’s just a lot of controversy and a lot of content that could offend certain people of certain preoccupations.

So I’m still waiting to see what happens…or are they just going to ignore us?

B&B: Ignore or censor? Perhaps ignoring is the greater of the two in this case?

JOHNNY D: Well trivialization is a very powerful weapon of any establishment. And as it stands, I don’t know if we are being ignored or aren’t being noticed yet. I don’t know.

Not sure if I should say this honestly or not, but we get a lot of attention from media outlets that we openly criticize on our record. I honestly think it’s either very big of them to continue to do stories on us even though we slam them, or I’m not sure if they’ve actually noticed yet.

B&B: You’ve said Philadelphia’s rap heroes – the live hip-hop crew The Roots, consciously inspired you and that you’re trying to be an extension of the certain musical traditions.

JOHNNY D: They were pretty much THE catalyst for what got me listening to hip-hop very seriously as a genre around 1996. I was more of a jazz or funk dude who also loved hip-hop. To me that was kind of like what my elitist, hipster, bourgeois understanding of music was all about.

Hip-hop – I guess it goes without saying – is just an extension of those traditions.

B&B: That’s a clear reference that you’re trying to make?

JOHNNY D: For sure. Even in our music, we try to introduce that continuity locally to our audience. A lot of people here don’t draw that conclusion. People here don’t see this music as an expression of Black American music past. They don’t see it as an extension of the music because they might not like hip-hop or maybe they don’t relate to it. Or the media spins it in a way that gives them a bad impression or a superficial understanding of what hip-hop is in a way.

B&B: But do you think people really care about these linkages at the end of the day?

JOHNNY D: (laughing) No I don’t. I think my job is to make them care, and to make them feel that this type of music is just that — it’s music. And we’re trying to pay our dues to the culture ourselves.

However, if you listen to the first song of the record – Njoom ‘Am Te’rab – during the last 3rd of the song is basically us reinterpreting the Sugar Hill Gang’s ‘Rapper’s Delight.’

This is where it started and it – ‘Rappers Delight’- was the first song to break radio airwaves in the United States, and we hope that this song will kind of break ground like that as well.

Album cover to Fareeq al Atrash's self-titled debut album on Forward Music

“Turntablism” comes to Lebanon’s Palestinian refugee camps

Danish DJs teach Palestinian youth to work the decks

By Jackson Allers, November 8, 2009 for NOW LEBANON

Palestinian youth on the decks (© Andreas Johnsen)

“Turntables are in fact musical instruments,” Danish turntablist Martin Jakobsen explains at his Gemmayze flat the night before the start of a series of DJ workshops for Palestinian youth called: “Turntables in the Camps.”

“This is our first time in Lebanon, and Den Sorte Skole – the three-man DJ crew that I’m repping – we want to introduce the idea that there is this global DJ culture that Palestinian youth can take part in; a culture that doesn’t exclude them in the ways that they are excluded from Lebanese society, and that through turntablism, we can teach them to use sounds from their own lives to create music.”

Jakobsen told NOW Lebanon he was not sure what to expect out of the process, but he said, “I am realistic – I know that it’s not going to save anyone – but these workshops are a way of saying to them – ‘Hey, everyone can be a DJ – and, ‘You don’t need all this fancy shit’ – especially if we’re investing the equipment for them to come and experiment on from time to time.”

Jakobsen’s compatriot, Simon Dokkedal, the crew’s scratch specialist, waxes a little more street on the matter. “We training the next generation of sound pirates!” adding, “Hopefully we’ll plant the seeds here, and from this we can create a new generation of hip-hop DJ’s here in the camps.”

Den Sorte Skole, aka The Black School, or L’Ecole Noir, are not quite a household name in Denmark, but telling by the number of Danes, Swedes and Norwegians present at their showcase club gig on Thursday night in Beirut, their cult following is legion.

The DJ trio – who work their magic on six turntables – were named Denmark’s best hip-hop DJs in 2006 and best overall DJs in 2009. Jakobsen says this has given the group the ability to cherry pick the festivals and concerts they’ve played at in the last 3 years, including playing for fifty-plus thousand people at the prestigious Roskilde fest in Denmark in 2009.

This success also gave Jakobsen enough clout to approach the Danish Centre for Cultural Development in Beirut for the “Turntables in Camps” seed money.

The project itself was the brainchild of Jakobsen, who has lived the past year in Lebanon with his wife. While traveling to meet his two cohorts at DJ gigs throughout Europe and finishing a master’s degree in political science, he figured that he had to start bringing this DJ experiment into marginalized communities in Lebanon.

In this case, he wanted to venture into perhaps the most neglected youth sectors in Lebanon – ultimately making contact with five Palestinian refugee camps in Lebanon: Bourj al Barajneh, Mar Elias, and Sabra & Chatilla in Beirut, and Nahr al Bared near Tripoli, the Palestinian refugee camp leveled by the Lebanese army in the summer of 2007.

Simon teaches Palestinian youth wassup with scratching. (© Andreas Johnsen)

 

As Jakobsen explained, the objectives of the “Turntables in Camps” project were pretty straightforward: breakdown barriers wherever they exist by providing “a space for creativity and musical dialog”.

Certainly, Den Sorte Skole are building on the traditions of the hip-hop DJs that spawned the term “turntablist” before them. DJs like Cut Chemist, D-Styles, Z-Trip, Madlib, and Beat Junkies members like DJ Babu and J-Rocc, to name a core list who have literally become the modern vinyl archivists of the black soul music traditions from the Americas to Africa. And it is this musical tradition that contributed to the group’s namesake.

During the first day of a two-day workshop held at the Sunflower theatre in southeast Beirut on Thursday, about 30 Palestinian youth from Sabra and Chatilla, Mar Elias and Bourj al Barajneh soaked up the sounds of the breakbeat drumming coming from Den Sorte Skole’s stacks of records.

“We want you to look and listen to what we do. It’s hard, what we’re doing, but you have to understand that anybody can be a DJ,” Jakobsen told the rapt audience before separating the youth into boys and girls groups – a move that was not a cultural issue according to Jakobsen. Nonetheless, the female DJ duo, Ladybox, an increasingly popular club DJ crew also from Denmark, was tasked with teaching DJ skills to the girls. “The boys just dominate in such situations,” Jakobsen said.

Ironically, it was the girls who dominated the first stage of the workshops this week – clamoring for the DJ equipment, bobbing their heads in unison and dancing to the sounds of hip-hop classics like Tribe Called Quest’s “Bonita Applebum,” Kurtis Blow’s “These are the Breaks” and House of Pain’s “Jump Around” – songs they had never heard before.

Rita Biza, aka DJ Rita Blue, said she was surprised by the girls’ openness. “They seemed quite shy at first, but we introduced them to the equipment and showed them what was possible, they were fighting to get on the decks and having such a good time. That’s exactly what we wanted. So they’re really hungry to learn.”

According to Rita’s partner Lei Miriam Foo, aka Sista Lei, “If I didn’t know where these kids were coming from, then I would never have known how hard their lives were. With this DJ equipment in their hands, it was like the world opened up to them and they were laughing and having a great time.”

Aya, 14, and Mina, 20, two workshop participants from Mar Elias told NOW Lebanon that the workshops were “cool”, but they definitely weren’t expecting a new army of female DJ’s to emerge.

“If you tell your father you want to be a DJ. What’s he going to say? What is that – a DJ?” Aya said.

The two seemed to agree that being a DJ was somewhat more acceptable because DJ’s “are behind” the decks, as opposed to scantily clad Arab pop singers out in front of the stage. They even questioned Lebanon’s only seasoned female MC, Malikah – seen regularly on Rotana Musika TV’s underground music show, “Shababiyat.”

Mina explained, “A lot of Arab culture is resistant to the idea of a girl or a boy being a DJ simply because they don’t see it as a ‘normal’ job. But if a girl started to earn good money as a DJ, they might reconsider. They certainly might just be silent on the issue if someone were making a living at it.”

Indeed, a law passed in 1995 prevents Palestinians from working in over 70 jobs in Lebanon. Palestinians cannot be doctors, lawyers or public-sector workers, but there are no Lebanese laws barring Palestinians from working as DJs.

Den Sorte Skole’s third crew-member, Martin Hojland, said that while he didn’t expect miracles from the workshops, he did hope that the participants would see turntablism as bigger than a musical genre. “There is definitely an art to deejaying and using turntables as instruments. In this way, we hope they take their own sounds as the foundations for some homegrown interpretations of turntablism.”

Adds Jakobsoen, “Hopefully, as we bring in a DJ instructor to continue the project (in the months to come), these kids will do the turntablism thing in a Bourj al Barajneh kind of way or a Chatilla kind of way. I don’t give a damn what they call it, as long as they make it their own. That’s what turntablism is all about anyway.”

Quoting from the underground hip-hop crew Dead Prez out of New York, Jakobsen extols – this project, “It’s bigger than hip-hop”.

This article first appeared in NOW Lebanon