- 26 minutes ago
فيروز المراهقة الخجولة التي احترفت الغناء في سن الرابعة عشرة، حملها صوتها العذب والساحر إلى النجومية بسرعة فائقة في مطلع الخمسينات من القرن الماضي قبل أن تتحول إلى أيقونة حيّة لها عشاقها المولهون على امتداد العالم، كما باتت بالنسبة للبنانيين رمزاً وطنياً يجمعون على حبها ويفخرون بها ويلجؤون إلى صوتها في الحرب والسلم والغربة.
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00:05Good evening, conspiracy theorists! Welcome to a new episode of Today's Conspiracy Show.
00:09Today we have a new bombshell
00:14After years of research and investigation
00:16Finally, I managed to reach the man that Virus sang all her songs to.
00:21The second one, not someone else, you told me that we would evaluate me and the kebab palace is on air
00:25And I said, "Even if you give me a piece of meat in the end..."
00:27Shut up, you liar!
00:28You deny that you, at 28 years old, have children.
00:32Your relatives thought you were abroad
00:34No, that's what happened.
00:35I do this to avoid envy.
00:36A woman means a monster, so we toast her.
00:39What do you say to the report I have that says you received a messenger who gave you a handkerchief?
00:44This is an Amazon representative.
00:46He gave me the order and a tissue because I was feeling generous.
00:49Don't play with words
00:50Here's a souvenir of the train I took to Alexandria in 2000
00:54Alexandria shore, oh shore of love
00:57What's wrong with Alexandria?
00:59Not everyone goes to Alexandria
01:01Is there even a place called Alexandria?
01:03My question is for the fishermen and the kings
01:05And Azza, the one who sells ice cream, Azza
01:07So you mean...
01:08The peasant's daughter is not a peasant woman.
01:10Intended, esteemed professor
01:12When you went to Alexandria
01:13I loved it in the summer
01:16We were in love during the summer, it was normal.
01:18Virus songs resonate with everyone
01:20I didn't like it this summer.
01:22Her gift wasn't a rose
01:23I showed it to its owners
01:25That's not all, no
01:26I hid it in my book.
01:28What are you saying?
01:30Rose songs, I am the one who is tired
01:35Rose songs, I am the one who is tired
01:38Oh teacher
01:40Virus songs suit us perfectly
01:42I mean, you're on my conscience
01:43You've never brought a rose to your girlfriend
01:45So you're not going to admit that you're the mysterious man?
01:47Hero of the virus songs, ya
01:50Shadi
01:50Shadi
01:53You are now with me
01:55About thirty years
01:56I mean, when this song was released
01:58My father used to say "Koko and Mbo".
02:01What does your name Shadi mean anymore?
02:02Why not Fadi?
02:04Why not Samir?
02:05Why not Ahmed Nabil Manga?
02:07I'm telling you, I can't stand this talk anymore, I'm leaving completely.
02:10Leave it to you, meat rose
02:12Oh my god, I'm going crazy!
02:14Run, mountains!
02:16No, dear viewers, we'll take a short break and come back again.
02:19So that we can meet Rajab and his companions
02:29Dear viewers, peace and blessings be upon you. Welcome to a new episode of Al-Daheeh program.
02:32Dear viewer, how are you?
02:34How are you, uncle? He says, "Now you know your daughters."
02:36By God, Abu Ahmed, if it had happened, you would have known me by now.
02:38Nobody told you
02:39Dear viewer, let me take you by the hand and we'll go to Beirut, Lebanon, 1984
02:43And the city, my dear, we see a ghost town, its inhabitants languishing and crumbling.
02:48It showed signs of bullet and shell damage.
02:50Azizi's spacious area used to be called the heart of the country.
02:53The space was full of life and movement
02:55Now there isn't a single older building there.
02:56There is only one large, blackened monument representing all the martyrs, as if they were standing alone.
03:01My dear, even the Tiskar monuments
03:03His features were disfigured by the bullets.
03:05Azizi area is considered easy
03:07Nomansland is completely deserted
03:10Why? Because it lies between East Beirut and West Beirut.
03:13On the front lines of every Beirut, there are armed men entrenched behind barricades.
03:18They eat, drink, sleep, and fight each other.
03:21That's simply because, my dear, at that time we were in the midst of the Lebanese Civil War.
03:25The war that officially began on April 13, 1975
03:29A war is raging between many different parties with varying ideologies, sects, and religions.
03:33And you have Christian parties like the Kataeb Party.
03:36You have the Palestinian Analysis Organization that was fighting Israel from the heart of Lebanon.
03:40You have the National Front
03:41This includes leftist, Arab nationalist, and Syrian parties.
03:45At the time, my dear, what was called the state losing its home?
03:48Each of the countries had a different vision of Lebanon.
03:51Dear viewer, let me tell you that we are talking about the country as much as it is
03:55But it contains 18 sects
03:56This, my dear, is not ethnic diversity, it's a necessity for the ranble.
03:58The beginning of the war in Lebanon will ignite on all sides.
04:02The capital will be divided geographically, politically, and religiously into two Beiruts.
04:06Beirut is predominantly East Beirut and Christian.
04:08It is controlled by Christian parties.
04:11And the second Beirut, West Beirut
04:12The majority of them are Muslims.
04:14The Aziz war is raging between 18 factions in a divided Beirut.
04:18Add to that the external aggression coming from outside.
04:21Israel invades twice
04:23The first was in 1978 and the second four years later.
04:2582
04:26The war will begin to expand into sub-wars.
04:28And everyone will fight for 15 years.
04:31Once upon a time, the Druze were with the Christians
04:33And once the Maronites with the Maronites
04:35Once the Shiites were with the Palestinians
04:37Once again, the Shia are with the Shia.
04:39And for the third time, the Shiites and Druze are together against the Sunnis
04:43My dear, this is how much I found
04:44In Lebanon, my dear, they have a famous righteous man.
04:45Lebanon has become a scorpion
04:48And not all scorpions are in one specific area.
04:50See, my dear, you see everything is in a car with everything else.
04:52But let's go back to the beginning scene, my dear.
04:55The armed men who returned to the front lines in Beirut
04:57The one that, as I told you, is both Eastern and Western.
04:59As you know, my dear
05:00There is no point of agreement between them
05:02But it happens, my dear, just like in 1984.
05:04Amidst all this arrogance
05:06All these categories
05:07All these wars
05:08All these conflicts
05:10Virus tops album
05:12A new album titled "My Knowledge of You"
05:15In our scenes, my dear imagined friend
05:17You might see an armed man in West Beirut
05:19And another one like it in East Beirut
05:21They woke up in the morning not knowing
05:22They will start on the day
05:23They'll know how to complete it, they'll drink coffee and smoke
05:26I really liked one of them today.
05:27The second one kills
05:28They both hear the same sound at the same moment.
05:31A voice, my dear, expresses what we might consider
05:33The saddest words that can be said to describe a city
05:36Peace to Beirut from my heart
05:38Two enemies on opposite sides
05:40They hear the same cornea
05:41They feel it at the same moment
05:42At the same price as in their city
05:44And Fayrout continues and says
05:45Beirut has a glory made of pomegranates.
05:47Beirut is from the blood of the boy
05:49A campaign above her hand
05:50My city extinguished its lamp
05:52She closed her door
05:53She was alone in the evening
05:55Alone and his night
05:56Everyone, my dear, will hear Fairouz's voice
05:58Beirut's civil war
06:00His version of Beirut, the one he fights for and is ready to die for.
06:03Or at least the image he drew of Beirut in his imagination
06:05His political, ideological, or sectarian background
06:08Call it whatever you want
06:09It was all because of Beirut in his imagination
06:11The scene, my dear, that I'm telling you about
06:12The armed men are divided into groups for every purpose.
06:14Even regarding the idea of Lebanon itself
06:15But what united all these countries was the voice of Fairouz.
06:18They were united by their love for Fairouz's voice.
06:20And venerating their company
06:21Like today, my dear, like most Lebanese people
06:23They have a connection to Fairouz's voice
06:25They can't find an explanation for it.
06:27They didn't know
06:27However, Fairouz and Fairouz's voice
06:29She holds a special place in their hearts
06:31but
06:32Fairouz, my dear, in their perceptions
06:33The relationship between the artist's image and the iconic symbol
06:36Her voice, my dear, is a captivating voice.
06:38Exactly like my friend
06:39You feel it's always there
06:40And at the same time it's not there
06:41Her voice is everywhere
06:42You can find them in cafes
06:43And you're studying
06:44Always there with you
06:45But we don't see it
06:46Don't fall for the last time you saw her
06:48To the point that many of us think it's a nute.
06:50At least during the filming of the episode
06:52The woman is still alive
06:53It exists and it doesn't exist
06:54My dear, it feels more like a fantasy than reality.
06:57Getting close to her is always forbidden.
06:58Acting like the sun
06:59And we see her all the time
07:00But we didn't have enough people to ask.
07:01My dear, we should try in this case
07:02We understand why this particular virus
07:04She's the one who caused this situation.
07:09my dear
07:10We are still in Beirut
07:11But let's go back to 1950
07:13We are now in the Lebanese fashion
07:15Specifically, the office of the music department director
07:17The composer and the singer
07:18Halim Al-Rumi
07:19I mean, my dear, we have a girl in front of us, and her age is...
07:21Approximately 15 years
07:22When the manager asks about her name
07:23You'll be very embarrassed
07:24She responds shyly and tells him
07:25Nihad Haddad
07:26Who will sing, Miss Nihad?
07:28She will sing for Asmahan
07:29What will you sing to her?
07:30My loyalists
07:31Malik Alaina Al-Lawn
07:32Rumi will describe it after years
07:34This is the first time I've heard her sing
07:35He will say
07:35I sensed new things in her voice
07:37I didn't see it in the rest of the voices
07:39So next to the sound system
07:40And he supplied it
07:41I really felt it
07:42It's her heart that's singing.
07:43Not her vocal cords
07:44Rumi's following of Nihad Haddad
07:46The one who, by the way, will sell her name later
07:47Fairouz
07:47Oh, Nehrisu, oh, Abu Ahmad
07:48Oh Fairouz, her real name is Inherd
07:50Oh, my dear, she's not alone.
07:51And every day her name is Fatima Ibrahim Al-Baltaji
07:53And Abdel Halim is not a Hafiz
07:54His name is Abdel Halim Shabana
07:55Wing in Ghazl El Mahalla
07:56Today, my dear, it's trending
07:58And his name is Ahmed Ali
07:59His name is Mahmoud Ashraf
08:00Al-Wili Karim Imad
08:01Al-Dahih Ahmed Walid
08:03We are all, my dear, in the official narrative, very ordinary.
08:05Anyway, my dear, let's get back to Fairouz.
08:06Rumi will have his impression of Turquoise
08:08She has a powerful, enchanting, sweet, and angelic voice.
08:12And the truth is, the lasting impression is preferred over Fairouz.
08:14Which is
08:14This cannot be described, it can only be described with one word.
08:17shy
08:18As Fairouz predicted, she passed the test.
08:20And the young girl, Nihad Haddad
08:22Music programs will be added to the radio.
08:24Programs that were broadcast live on air
08:26And what about the people of two years ago, my dear?
08:28Nihad Haddad's voice will be a landmark
08:31The audience waits to hear it on the radio all the time
08:33They follow the young singer's news in magazines with curiosity
08:36The singer whose new name was given by Halim El Roumi
08:39Stage name: Fairouz
08:40My dear, the public's curiosity towards Fairouz will increase even more.
08:43Because, my dear, no one has seen her picture or knows who she is.
08:46Rumi will provide Fairuz and Lina, as listeners, with the greatest service.
08:50What will he do, my dear?
08:51He will introduce Fairouz to someone named Aser Rahbani
08:54Rahbani was a composer and musician, along with his brother Mansour.
08:57They had a radio program featuring music.
08:59Assi believed that Fairouz's voice could be very beautiful.
09:02With calm and romantic songs
09:04But it won't work very well with dance songs.
09:06Fairouz enters the silence, joy does not blossom.
09:08Fairouz, my dear, the second one
09:09Like any romantic comedy series in the first three episodes
09:12She saw Assi as an arrogant person
09:14And also, like any romantic series
09:15With time, each will prove themselves to the other.
09:17First impressions weren't the most accurate thing.
09:19Fairouz will not only sing
09:21No, she'll excel at dance songs.
09:23It's just like romance.
09:24Fairouz, my dear, you'll be worried
09:26In everything that came to mind and everything that did not come to mind, Bal Assi and Mansour Rahbani
09:30Also, my dear, you rebellious one, the second one
09:31He will prove to her that he is not arrogant.
09:33He will make her fall in love with him and she will marry him.
09:35Fairouz, my dear, and the Rahbani brothers
09:37They will write a new chapter for all of Lebanese art.
09:39We could say that they pioneered a new genre of Lebanese singing.
09:42In the early fifties, a group of Lebanese artists worked
09:45The costumes of Halim Al-Rumi, Kofi Al-Basha, and others
09:47On releasing a song with Lebanese characteristics
09:50Why is that, my dear?
09:51Because the songs were defeated at this time
09:53The orbit of Egyptian song revolved around him.
09:55The Rahbani brothers, along with a young voice in the spring of his life.
09:58Work on the text of the insightful poems a little
10:00Relatively shorter than long poems
10:02And they also produced short songs, my dear.
10:04Don't challenge me with four minutes
10:05Songs like "I love you, I don't know"
10:07Come or don't come
10:08A new style from the Lebanese writer Paul Shaul
10:10He will say that this style broke the old musical pattern
10:13The one who sometimes sold very long, boring stories
10:15Wali was prevalent in most forms of Arabic song.
10:17And now, my dear, we have a song here in a new and improved form.
10:20With an expressive orchestral arrangement
10:22Also, the lyrical poetry of the soul, Panjin
10:24It will depend, my dear, on the Lebanese blindness.
10:26Or what is known in Lebanese dialect
10:28May God protect us, Abu Ahmed, may God protect us, this dialect
10:30Not my dear Lebanese, I speak the Lebanese dialect of Baalbek
10:32This is the language I grew up with
10:33The topic, my dear, will be amazing.
10:35To the point that the blind poets of Sabah Juhain
10:37He will describe the Rahmaniya deception and say
10:39Although it profoundly influenced his poetry
10:41And everything written was in Egyptian colloquial Arabic.
10:43So you have it, my dear
10:44This is the great artistic tycoon whose name is Egypt
10:47With poets, artists, and their praise
10:49It is influenced by a very local need
10:52Not from the center of industry
10:53Also, my dear, this spacious place will be inclined towards something for you.
10:54He's eating Sharq in the West
10:56And this will be the Lebanese song
10:58From the nature of Egyptian welding
10:59And from the idea of long singing
11:01We welcomed them and they were able to dedicate a song to the Lebanese song.
11:03independent identity
11:04The identity that Fairouz shone with
11:07My dear, I'll leave it to my time to go back to the beginnings.
11:09About 75 years ago
11:10Back then, we saw young men and women just like they did in old movies.
11:13The girls are staying up late at the house.
11:15Wearing wedding dresses
11:16And the young men are so respectable, wearing suits and ties.
11:18And among them were two very dignified men.
11:20In a black and white atmosphere, the radio calls it
11:23This atmosphere isn't for me, my dear.
11:24Fairouz and Rahbana will do what is described in the Rabsin as the first hit
11:29We were, O Hadiya, with a sad melody
11:30Written in more sorrowful words
11:32With a little bit of Fairouz's performance
11:34There are no Arabs, no sighs, no singing, and no night to help.
11:38My dear, you'll find stories of longing that tell me
11:40Haji, you're scolding me, you're being harsh with your reproaches.
11:42My body melted from carrying so much.
11:44Come and blame me, and if you want to leave, go ahead, my heart has grown accustomed to suffering.
11:48It means that in your presence you will reproach me and torment me
11:51I will suffer in your absence
11:52May God forgive you, my brother
11:53Together, my dear, they welcomed the gloom and sadness with overwhelming joy.
11:57And a warm welcome, as is our custom as Arabs, accompanied by sad songs.
12:00We adapt to sadness
12:02Dear Aziz Tawar, your home is in a state of sorrow, so rejoice.
12:04This is Karir Hassan for Samar and Hamad Aqlal
12:06My luck in loving Kamal, why did it last so long after you left?
12:08Why are we deducting from her?
12:09Why is this book all sad, just my size?
12:11for him?
12:11To those outside the community, they say, "Stop us three by three, with handcuffs on our hands."
12:14You are a lover who has taken what is rightfully yours
12:15Focus on the lawyer
12:16Look at the criticism, you're in it and it looks good.
12:17My dear Republican, as I told you, love sadness.
12:19The voice virus remained known in Lebanon and Syria.
12:21But there's still more to come, my dear.
12:22And listen to the surprise: [This appears to be a nonsensical phrase in Arabic, possibly a misspelling of "Medical Healing" or "Moderate Healing"].
12:24Within limits, my dear, it was creating a state of ambiguity.
12:26To the point, my dear, that posting her picture for the first time would be considered charity.
12:30Sadaqa will celebrate the fisherman's birthday
12:32And write the address on it
12:33This is the first photo of the singer Virus to be published in newspapers.
12:36When you see the picture, my dear
12:37It feels like a picture of a teenager
12:38She looks shy and afraid of something
12:40black hair
12:41And a seer's smile
12:42She doesn't even want to look at the camera.
12:43This girl is so shy and embarrassed.
12:45Tabanak, a student at the school, was among the first students.
12:47She's not an artist that people are interested in seeing.
12:50This isn't the first time an artist has posted a picture of herself to her audience.
12:53My dear, people imagined her to be a sad, melancholic angel.
12:56This is the image that people have created from the sound of the virus.
12:58People discovered that the owner of this voice
12:59A type of person who is very withdrawn because of their shyness
13:02You can't help but sympathize with them.
13:04You feel, my dear, that they are very visionary.
13:06In men
13:07To the point that if you touched them you might break them
13:09And it's possible, my dear, that this is the feeling that will stay with him forever.
13:12A virus, unlike the two big stars at this time
13:14Two stars linked the Levant with North Africa
13:16Those who are masturbating in the Arab world, East and West
13:19The one who asks why Sabah was the Shahrour
13:20And the second one, you know
13:21Who is she, Abu Hamad? You'll find out.
13:23Time passed, my dear, with Sabah
13:24Sabah in her fifties possessed all the qualities of a showgirl.
13:28An Arab artist, but a Hollywood star
13:31She is tall, beautiful, and has blonde hair.
13:33I wanted to talk to Haran Nana
13:35Azizi's personality is cheerful and sociable.
13:37She sings and dances and acts
13:39An artist whose news is never interrupted
13:40And also, a person whose news is never interrupted
13:43The character of Sheikh Al-Hara will appear in 12 seasons.
13:45That's good, my dear, from Instagram.
13:46Reese didn't make the stories at the time.
13:48She once sang, "I'm here, my good son."
13:50I exceeded nine times
13:51Yana's cat, that was a cry for help.
13:53Not a song
13:53If you reflect on the career of the Shahrour
13:55You'll find that she has crossed over to the traditional sitting position.
13:57What any Arab artist can surpass?
13:58In order to reach the level of the idol
13:59What did you do, Abu Ahmed?
14:00I'm going to get squeezed
14:01Good morning, my dear, her voice is strong and beautiful.
14:03But it's no use, and now she's out of the spotlight.
14:05Let me tell you, my dear
14:06A large part of the audience's love for her
14:08He was captivated by her beauty
14:09She was stunning
14:10Good morning, my dear, it was sparkling on white and black televisions.
14:13This is a time, my dear, where there are no cosmetics, no filters, and no beauty procedures.
14:17Natural workers, doors in white and black
14:19Sabah, my dear, was not just dazzling in her voice
14:21But it was also visually stunning.
14:22beautiful
14:23She looks like she's sung.
14:24You'll see her again, my dear, just like Fairouz in her first interview.
14:27It's highly unlikely that she would ever sing in front of an audience.
14:29For example, the idea that she represents
14:31Fairouz absolutely refused to even sing in tourist places like restaurants, for example.
14:36And when she agreed to go and sing at festivals, for example, festivals that used to take place in Lebanon or Syria
14:40The sound of the audience's spitting was unnerving.
14:42My dear, you only find comfort in the radio.
14:44She brought it back with the microphone, that's all.
14:46My dear, shyness isn't like this time; it will make her give her full trust to her partner and her children.
14:51He's the one who deals with the press.
14:53And they, my dear, are not just working on her songs, but also working on the idea of the symbol.
14:57The symbol that cannot be touched
14:59So, it's a shy virus? No, we'll take it and make two bandages.
15:02We will create a Fairouz brand that rarely appears before the public or the press.
15:06In the fifties, sixties and up to the seventies
15:08Haddad's end was a very intimate, captive life.
15:12Completely far removed from the flaws of the media
15:14Aisha is raising her four children: Ziad, Hali, Layal, and Reema.
15:18Why, my dear, was Mama at home?
15:20Fairouz, the artist, was flying high.
15:21Petri, my dear, is above Lebanon, the Arab capital, and the world.
15:25Films, festivals, and plays
15:28They have all become classics of Lebanese musical theater.
15:31And most of Fairouz's songs came from her
15:33You are Fairouz, my dear, very abundant
15:34Not only as a singer, but she also established herself as an actor.
15:38To a professional
15:38Fairouz's journey of continued success
15:40At a time when people barely knew anything about the end of mourning
15:44She was, my dear, a very quiet person, from home to glory and from glory to home.
15:47Beautiful scene, let me take you by the hand and we'll go to Baalbek
15:511961
15:52Good luck to me, my dear. A Roman amphitheater and six giant columns.
15:56This is all that remains of an ancient Roman fortress.
15:59According to legend, the gods decided to walk away from the ruined city of Baalbek.
16:03They try to persuade the girl from the Al-Baalbakia neighborhood to go with them because of her enchanting voice.
16:07But the people of Al-Bakiyah will sit down.
16:09And my dear, the departure of the gods was a dark and somber dialogue.
16:13It happens between people and gods
16:15The girl was the people's last hope
16:17The only beauty left for them is her voice.
16:19Keep this in mind, my dear, as you learn this information.
16:23Fairuz is standing and singing on an open-air Roman amphitheater.
16:27This is the heart of a legendary mythology.
16:29My dear, the epic nature of the event isn't exactly clear. Where does Fairouz stand metaphorically?
16:33And now, my dear, the time differences have become confused.
16:36The line between reality and fiction, or reality and mythology, is not clear.
16:41It's no longer clear where Fairouz is now.
16:43Will the theater stand with the audience who listen to her and are captivated by her voice?
16:46Nor is she part of the legend of the crying girl who stayed
16:49The confusion, my dear, lies in the image of Fairouz that occurs in this operetta.
16:53He will continue to participate in all of the Rahbani works in theater.
16:57In his book Fairuz and the Rahbani brothers
16:58The Stranger's Theatre and the Treasure of the Marvel
17:00Dr. Fawzi Rabolsi says
17:01Anyone familiar with the Rahbani literature cannot help but notice the Rahbani brothers' fascination with the figure of the outsider.
17:08And Fairouz, my dear, is the sole heroine of the Rahbani theater.
17:11Her image was unaffiliated, belonging to no entity.
17:14Suspended between heaven and earth
17:16Suspended between reality and imagination
17:18Hanging between art and magic
17:20Why, my dear, do you come to reflect on Fairouz's life in general?
17:23You will always find it clear, my dear
17:24A pause between two opposing sides
17:26They are both different, but they agree on her voice.
17:29We will find her among the mothers whose lives are dedicated to their children.
17:32And between the artist who dedicated her life to her audience
17:33Obedient between a city you live in but don't belong to
17:36And the village of Reem in Egypt belongs to it.
17:38But I can't reach her
17:39She promises travel, but she's not traveling by train.
17:41Dr. Trabolsi says in full
17:43Strange, and her voice is the voice of non-belonging.
17:45Voice of alienation
17:46Fairouz on stage is the stranger
17:47Of mysterious origin and broken lineage
17:50The owner of the enchanting voice
17:51Any sound whose effect extends beyond
17:53The voice, because it is a voice that carries a message.
17:56You might think, my dear, that Fairouz
17:58It could be due to her extreme shyness, embarrassment, and isolation.
18:02Unaware of the impact of her voice
18:03Not one of them said it, from the case whose voice she carries
18:05Man, Earth, and Love
18:07These are some of the issues that Fairouz saw
18:09And she knows her voice reaches her.
18:11I am the people's microphone, I am the one who defends them.
18:13The welcoming ones saw this and Fairouz in it
18:15She saw the same message in Fairouz
18:17The sacred message of art, under whose shadow everything else disappears
18:21Even her image as a normal human being
18:22Among them is the shy teenage girl's challenge
18:24The one no one knows, even when she became Fairouz
18:27No one knows her yet
18:30Come, my dear, let me take your hand and we'll go up to
18:33Las Vegas
18:34Muhammad, please
18:35Don't laugh, woman
18:37My dear, we are now in Las Vegas in 1998
18:41Specifically at the Garden Arena
18:42At the MGM Grant Casino
18:44It depends, my dear, on the New York Times magazine.
18:46So, the attendance at that time in Las Vegas
18:48United States of America
18:50There were 10,000 of them.
18:51My dear audience, they come from almost every corner of the world.
18:53The one coming from Brooklyn
18:54And the one coming from Washington
18:55And the one coming from London
18:56And the one who came from Bonnie Cyrus
18:57And another number that does not come from the cities
18:59In the audience, there is a young woman named Ghada, who is 31 years old.
19:02One of thousands of children born in exile
19:04The children who left the country as children during the war
19:06A link in a long chain of Lebanese migration
19:09It starts, my dear, from the saying of the 19th century.
19:11Even before the Lebanese Civil War
19:13When you look at a Lebanese person, my dear, you'll find they've traveled to every country.
19:17Titanic, my dear, was on the Lebanese.
19:19Today, my dear, the number of Lebanese people outside of Lebanon is many times greater.
19:21You might find more Lebanese people in Brazil than in Lebanon.
19:25On the other side of the planet
19:26Their diaspora literature produced more than their popular culture.
19:29Like I told you, my dear
19:30Lebanese emigration was happening before the war
19:32But it increased hysterically during the war.
19:34People took with them their sweet memories and the life they had there.
19:37They didn't know if they would ever come back.
19:39I don't know if when they return to Lebanon it will be the same Lebanon, or a different Lebanon altogether.
19:51And a gift bag might arrive for you on that date.
19:54A wellspring of emotions and feelings
19:56All of this will be conveyed to the audience with a heartfelt voice.
19:59Tomorrow I'll tell you about her, she's from Lebanon and she's nine years old
20:01And from its square, she didn't see Lebanon
20:03So, Heroes, who was standing in front of her, was singing right now.
20:05Suddenly, Lebanon was transformed into the eyes of tomorrow.
20:07Heroes Waqaya says, "Take me to her three sweet places."
20:10Take me to the land that raised us
20:12Humanity on the brink of suffering, Putin
20:14He stripped me bare on the dust of our village
20:16Take me and plant me in the land of Lebanon
20:18Tomorrow, my dear, I heard the song from beginning to end.
20:20She's crying
20:22It's about this moment, as described by the New York Times article writer.
20:24My grandmother used to have fig trees.
20:26And Aisha's eyes are from Fairouz
20:28Let us see them
20:28Of course, tomorrow wasn't the first time you'd heard Fairouz.
20:30But the desire for a live encounter with this icon
20:33For the first time, they will make her fire a completely different effect.
20:36And at a time, my dear Lebanese, those abroad were deprived of Lebanon.
20:39The Lebanese inside were deprived of Fairouz
20:41Fairouz, who has two letters, has daughters of songs with the outbreak of war
20:44She decided that she would not perform concerts in Lebanon.
20:48You will never sing in an area considered part of the opposition.
20:50She won't sing in an area that the rest of the Lebanese couldn't reach.
20:52She won't allow anyone to take advantage of her.
20:55He claims that Fairouz belongs to him
20:56She lived in Peru
20:58She saw both options and refused, despite everything that's happening in Lebanon.
21:01She's going to live outside of Lebanon.
21:02And so she stopped singing in Lebanon
21:04Although she sings outside of Lebanon, in the Arab world or globally
21:07However, the parties are very...
21:09When he went to those places, he was always eager for everything.
21:12He wants to see Fairouz and he wants to see Lebanon.
21:14He wants to hear the sound that was coming from everywhere this morning.
21:16The voice of his childhood, his school, and his home
21:18Fairouz's voice reminds him of the scent of his little duck in his father's arms and her mother
21:21When he goes to a Fairouz concert, he lives for two to three hours
21:24With memories
21:25Attending a Fairouz concert, my dear, is like a one-sided poetic experience.
21:29Zay, he's telling you about Fairouz like that
21:30Medically speaking, if you hear it, we won't hear you.
21:31Fairouz distributes this mixture of emotions in doses
21:34Even if you're leading a party, you'll hear people and cut them off
21:36You are going through an individual experience
21:38It takes you and transports you between loneliness, fur, longing, and nostalgia.
21:42It takes you from sadness and boredom to hope and love again
21:45And as I'm telling you, my dear, you're not here to be the son-in-law of the idiot.
21:48Meaning that here there is no interaction, for example, between the audience and the singer.
21:51Interaction that we all know
21:53There are no collective groans and the music stops afterwards.
21:55There's no God, ma'am, and well done, ma'am, and repeat it, ma'am, for the woman is repeating
21:59There's no one coming to you from Tanta
22:00Futurists reporter when he couldn't appreciate the party
22:02I'll see the audience's reaction and how they'll be captivated by Fairouz's voice.
22:04Even though he doesn't know Arabic
22:05When he sees Fairouz, he will ask her.
22:07Why don't you perform on stage?
22:08Isn't it Douja Mahuri?
22:09Here, my dear Fairouz, you will be asked the question
22:11She will explain to him that she is always shy and reserved.
22:13Her focus on the stage is always on delivering the best voice.
22:16It focuses more on richness than body movement and performance.
22:19From rare to very few times, strong
22:21The one who will speak about herself is the dearest of the transparent ones.
22:23You'd say the reporter, "If you focused on my eyes while I was singing..."
22:25You'll see that I'm not here, I'm not even in this place.
22:26For me, art is like prayer or worship.
22:29When I sing, I feel like I'm in a temple.
22:30Of course, it's not like that all the time.
22:32But in every position of the mobile phone
22:33For example, in Dabke songs, you'll find Fairouz playing a tambourine and straining at it.
22:36It's very possible that something trivial or a small smile can shake you or make people aware of it.
22:39So, my dear, let her go from the party; all we remember is that smile.
22:42My dear, come with me, let's go back to Beirut.
22:45And I, Abu Ahmad, want to go to Raouche to relax.
22:47My dear, please focus on the story.
22:49Abu Ahmad wants to have breakfast
22:50Come on, I'll calm you down
22:51Do you remember, my dear, the ruined place where I started the episode?
22:53Noman's Land, the booby-trapped place, human beings
22:56Beirut divided in two
22:57The year is now September 1994
22:59Four years have passed since the end of the war.
23:01We see a girl named Dima who is 14 years old
23:03She's standing there begging security to let her in so she can see the rehearsals.
23:07And this girl told her she was going to see a virus for the first time in her life
23:10All I'll remember about that day is that her eyes were full of tears.
23:13The topic of tears was something that most people shared with the virus.
23:16No one thought to ask her about the few Moroccans she worked for.
23:18What's with all the tears? Doesn't anyone remember the Virus party?
23:20He's changed and talking to you about crying
23:22I almost thought that the virus only saw tears in the eyes of its fans.
23:26What's the matter, my dear? Didn't you sneak into the rehearsals?
23:28It leaked like that, she didn't even see the virus.
23:30It's not far away, you know.
23:31The next day we will meet her, her mother, her father, her sister, and her brother
23:34And Finn was in line hours before the party
23:36Anyone who attends will classify it as a historic event before it even begins.
23:39It had been two months since she started counting down the days
23:42The precious days become hours, minutes, seconds
23:46Until a virus appeared in the center of the country and sang in Lebanon after a twenty-year hiatus
23:53When you look at the place, my dear, you'll find that most of it was destroyed in the war.
23:56Waiting for the start of the reconstruction project
23:59The reconstruction project was already controversial.
24:01And he is in Lebanon, and he is
24:02The late businessman Rafik Hariri was dancing with the government for the first time in his life
24:06He brought an economic project for the Lebanese to produce from the effects of the war.
24:09But that didn't happen.
24:10Because the company's name is Solidere, a real estate company that was supposed to be developing downtown Cairo, a major campaign was launched against it, accusing it of...
24:17She was around the main owners and bought their properties from them with money.
24:20This project will destroy the spirit and history of the place and replace it with something resembling a mall.
24:25President Rafik Hariri responded at the time, saying that the attack against him was politically motivated.
24:29And the debate, my dear, will continue until a virus party is announced.
24:35And some opponents, including politicians and idiots, will demand that she not sing in a campaign in which even the son of the virus himself, Ziad, participated.
24:43Rahbani
24:43And this opposing opinion was countered by another opinion that said that if the virus were to spread in Beirut, it would be the Lebanese people, not anyone else.
24:50The virus of resistance is too powerful to be driven by political motives and too significant to be merely settling petty scores.
24:56If she waits for utopia to sing, she'll never sing in the world.
25:00Virus, my dear, as usual, not a word comes out of her. Virus, my dear, she appears on the day of the party, she goes on stage in the theater.
25:07It's almost like a ship with sails.
25:09And this, my dear, is what she has in front of her: fifty thousand dreams. This is the eloquent description that was in the Lebanese newspaper As-Safir again.
25:17Party day
25:17Beirut and the virus, fifty thousand dreams, all these people, my dear, gathered after twenty years, these people gathered to see the virus
25:26And they hear it in the same place that was a symbol of smiles
25:29My dear, between fifty thousand dollars, we always see the girl who heard from her family about virus parties in Baalbek and at the theater.
25:35Piccadilly and even in the land area of Lebanon
25:37I heard, my dear, things about Lebanon that I've never seen in my life, even though I'm in Lebanon, but I saw them in the voice of a virus, as if...
25:44Dear, time stops the moment a virus appears on stage; we hear the hysteria of the audience.
25:49Virus, my dear, you'll surprise them when you don't start with "I Love You, Lebanon" either. And Virus, my dear, you won't sing "Beirut," you started with the song...
25:56We went out into the light, we went out into the heat, but the song that will remain in Dima's memory was the song "My Faith Shines, O Sea of the Night".
26:03The sun's faith, the horizon and the night, neither break my faith nor weary it. You are the one who never forgets me, my dear, that is the hope that was.
26:09In the voice of a virus, I sing it
26:11Hope has been fulfilled, as if, my dear, there were a virus on this stage, in this place, after more than twenty years of
26:19The war virus says that the war has mixed
26:21Come on, my dear, let's also look at a strange child, a child named Naif. This child is about a year and a half old, he hasn't yet...
26:27He can't say a coherent sentence, but he knows how to say an unclear word and keeps repeating it.
26:31Abu and Ummu knew what this word meant. This dear child only became like this when they played a certain song for him.
26:37The song is for the one who asks for it, every time it finishes, Yazan asks for it again. The song is one that no one knows when this child started to get sick from the virus.
26:44But it's well-known, as you might say, that he memorized song melodies before he learned to speak, and not just any songs, this one about the virus.
26:50For example, Gulnar listens to "O Jerusalem, O Flower of Cities, O my years that have passed, pray for me, I don't know what kind of child wants the years."
26:55The one who
27:01The valley child, this is a complete invasion. This child was a Nobel, a virus that entered the religion, what was his business? And he sat down.
27:06It modifies its Russian fingerprint until it generates a virus. This is the second, and more unusual, possibility: that it actually sounds like a virus in some kind of nighttime activity.
27:14In his innate need, Mohamed Abdel Wahab Al-Musaqir for Egypt the Great described the voice of a virus as coming from the heavens, a revelation he said that history
27:20He will remain puzzled, perhaps for centuries, about how to bring about a new virus. Tayeb Mohamed Abdel Wahab, the musician of generations, perfectly describes it when you listen to him.
27:29And as they say, pass it through a filter or strainer, and it will come to you free of defects, and forget about the need. The late son said
27:35About a virus, a voice, a virus that adds to life, making it, when thrown into it, worthy as a noble tragedy, making it like a sacred fire, as if all our intercession were in
27:45This sound is like our ascent followed by our fall; it's so foolish, like going up after you've descended.
27:52For your information, my dear, if you asked one of the AI programs to describe the sound of a virus
27:57You'll find that first he praises you for listening to Virus? He'll tell you that Virus's voice is always described as unique and angelic, and many people see it.
28:03It possesses a tranquility and melancholy that transports the listener to a state of contemplation and longing, whether it's singing about love, homeland, or everyday life. It's a voice.
28:10It's like a gentle morning breeze, yet capable of bearing the heaviest emotions with three wondrous things. That's the magic of a voice.
28:17Virus, it's somewhere between lightness and feeling, and between heaviness and consolation. That's all, would you like me to write to you?
28:23I've researched it thoroughly, and I'm not telling you to sing it all. Pay attention, the next question is the last one in the free version. What are you talking about?
28:27Aziz, your feeling is like something repetitive, describing something difficult to describe. It just needs to be heard. If you do, Aziz, you'll find it's the sound of a virus.
28:32A cruel voice that has wronged dozens of voices that have been squeezed or that have been found after it. Another voice capable of wronging melodies of the utmost expressiveness. A cruel voice.
28:40Poets are unfair to the colloquial and classical Arabic months. Imagine, my dear, you don't even notice all this because the sound is making you...
28:46Specifically, a magnetic astrology, a voice of a virus akin to magic, which made poets spend their lives trying to describe it at the end of the poem, hoping to find something to describe.
28:52One thing is that they are indescribable, but my dear, it wasn't just the voice that made the virus a transgenerational artist for listeners of the fifties.
28:58Until the child I'm still telling you about, Virus was always surrounded by the cow of art and was very selective in her choices of composers and poets.
29:05Whether during her work with the Rahbani brothers or after their separation in Q
29:08The seventies, with all its history, has only collaborated with a very small number of composers, a number that might exceed a greenhouse, starting with the first of them.
29:14For example, Mohamed Abdel Wahab took her voice to a completely different, earthy realm. The Rahbani brothers didn't want to experiment with it too much. Abdel Wahab made her sing like a virus.
29:21It begins with songs like "Ya Jarat Al Wadi," "Mar Bih," and "Sakan Al Layl," with the famous melody by Abdel Wahab and lyrics by Gibran Khalil Gibran.
29:30Dream Team, but my dear, the defining moment in Virus's artistic career is the same as the...
29:36The darkest moment in her personal life was her emotional separation from Aser Rahbani, the composer of the great epic, as she left her home in the mountains.
29:43In the eastern region, to cross the front lines to her second home in Western Persia, and here, my dear, we need to go back to 1979 quickly.
29:50Come on, my dear, give it to Naya and sing. Unfortunately, Abu Ahmad isn't with me. Naya will take your book. The virus's separation from Asr Rahbani was a result.
30:01Inevitable after years of marital discord
30:04And also, we had artistic disagreements, but the news of our separation, my dear, will be like a slap in the face; the separation news will be trending.
30:11Forget all this breakup now, that was a very popular affair. Forget the history of Ahmed Fahmy, Ahmed El-Awady, and Hossam Habib.
30:19The breakup wasn't just a sad ending, and it wasn't just the end of a very beloved relationship, but my dear, Hafez didn't see that.
30:24The end of a relationship between two people is a devastating blow to Lebanese art. (Enter, my dear, when you become a ghost.)
30:30Part of the power and grace of your country's society is that it's not concerned with your mental health, it's not concerned with your children's well-being, its eye is on the single woman coming in
30:37Summer, but it's clear, my dear, that Fairouz intended to open two new chapters in her life: an artistic chapter and a personal chapter.
30:43Bayrouth al-Gharbiyya was waiting for Fairouz's eldest son, Ziad Rahbani, the artist who emerged from his father's and mother's shadow, and he was very proactive.
30:50At the beginning of the seventies, a young boy showed tremendous theatrical, artistic, and musical talent; he was 17 years old when he...
30:58His first melody, and I don't want to tell you what the melody was, the melody was, literally, "People asked me about you, my love," a song that's still trending on
31:04Spotify is now available. Mansour Rahbani, Uncle Ziad, bought it from him when he was 17 years old, and the song "Al-Azizi" by the way is a greeting from Fairouz and Mansour.
31:12And Ziad Rahbani, after Rahbani suffered a brain hemorrhage, is very cute, my dear Lebanese friend. Also, George Wassouf when he got sick.
31:19They sang him a song, "Tabwadi'a Al-Safih," which we have when you realize the artist is tired.
31:22Imagine, despite Aziz, as I told you, the Lebanese, look at Fairouz for example, and you feel that she is not affiliated with anyone and that
31:26She doesn't have a clear political stance, and it's obvious that Rahbani's treachery was the opposite of what I'd seen before. Ziad, on the other hand, had a political and ideological position.
31:34Clearly, a leftist at the top of the roof, he had a satirical political radio program and he had plays and songs. Ziad was on his way to becoming something like
31:43The folk hero or leader of the new youth language, a language not rich in symbols, words, and metaphors
31:53Unlike the imaginary Rahbani villages that appeared in the Rahbani theater, Ziad Rahbani's theater was in a city connected to a city.
32:01More connected to his time, and if they call it the past, the people there speak the same way as people in the street; their names and sectarian identities are clear.
32:08And frankly, they insult each other, fight, and state their positions as they are. We see Ziad Rahbani, a theater director, working on the stage decorations and set design in recent days.
32:16The one before the opening of his play, Mountains of Glory
32:18Does he tell you, my dear, that this play was a satirical caricature of his father's and uncle's plays, which were performed by the village people?
32:26In it, they live, loving each other with an exaggerated, fantastical love, and in it, a young woman lives who has illuminated her country, not Fairouz, at our gatherings, and in a jar.
32:33Then a stranger, not Lebanese, came and stole it. After that, the villagers became divided and started accusing each other. All of this happened until the secret was revealed.
32:40The revelation that all the blame lies with the stranger suddenly brings back love and children to the stage, and everyone is dancing the dabke.
32:46Of course, the actors on the Rahbani stage will fight each other because of their sectarian affiliations and political rivalries, even though they are all Lebanese, there are no strangers among them.
32:54Sayed wanted to say that the approach to the Lebanese crisis is no longer limited to folklore, crochet, direct instructions, and blaming everything on the outsider and above.
33:02And above and above
33:03Sayed was trying to say that the idea that people like my father and uncle were trying to promote was that the problem is always with the West, not with us.
33:09We
33:09The idea is that we're in the eighties now, and time and language have changed. What you're carrying is old.
33:14Imagine, my dear, you're pregnant with a baby, and now, my dear, it grows up to look just like you, and is even better than you.
33:20Not only that, he takes your job, not only that, he's taken your mother, who is your wife, and is holding her captive over you, the older man.
33:24I will sing your praises, I am your son, I will follow your path
33:27A difficult situation, may God be the one to help.
33:28Ziad Rahmani will stage a coup against his father in the public square, and he will stage a similar coup, by the way, against his mother.
33:33The old version, the Rahbani version, Ziad will present a new, different virus.
33:37Let my dear young, modern, and brilliant composer come to him while he is young and experimental.
33:43The best voice sings his melodies, and that's not his complex. He succeeded because of his talent, or because of a marriage he got, or connections, or an opportunity.
33:50I'm working with my mom. I'm done with henna. We'll meet at the table tomorrow to sign off.
33:55The first album that Ziad Rahbani and Fairuz collaborated on was "Ma'arifti Feek" (My Acquaintance with You), released in 1984.
34:00Dear press, you will describe the album as the beginning of the end, the end of Fairouz.
34:05So, is this really my father and Hamad? Was this the end of Fairouz, your son? A look from the Lebanese press
34:09Honestly, my dear, it was a clear and captivating sight.
34:11The album they're praising is a failure, and that it's the end of Fairouz. What do you want me to count with?
34:16Fairouz sang in it, "Stay home, is there a home for love? Long live you and me, your oud is resonant, keep celebrating, Ali."
34:21She sang for Beirut, which is undoubtedly the sad anthem of Beirut during the Lebanese Civil War.
34:29The song "Al-Ghanaq" was written by the poet Joseph Harb.
34:30Joseph Harbi, my dear friend, by the way, is the poet whose most beautiful melody Fairouz sang in "Lemon Waqb".
34:35When I was at the door, I was afraid of Asma, and I wished I had reached out and stolen from you.
34:39My dear, I wish you would say something like, "If I go back, I'll go crazy, and your tenderness is like a sheep. I don't know if it's an elephant or if it's still there."
34:46What ruins my life when I see it on your page?
34:49Either you deprive me of it, or I'll steal it!
34:51What did he say, Omar? "How sweet of you!"
34:53Oh, I wish, oh, I wish, beautiful, I'm coming to you from Sidon, ma'am?
34:57So, my dear, even though she's working with her son, this situation is considered a phase of being "muddy" (a play on words, as "muddy" is used here).
35:01At the peak of her vocal development, artistic experience, and personality, Fairouz met Ziad Rahbani, who is inherently stubborn.
35:07And now she will step down from her high position and the post of Lebanon's ambassador to the stars
35:12And she turns into a normal forty-year-old singing
35:16She speaks in a poetic way, without any poetic affectation or exaggeration.
35:20Real words, words in a story, how are you? You filled it, you increased it, a masterpiece of genius music, with lyrics and music by her son Ziad Rahbani
35:27The song will be the star of the album and will become one of Fairouz's most popular songs.
35:33Ziad, in a brilliant way, manages to bring out the inner voice of six
35:36I was soon invited to a love story
35:37Six people experienced love, heartbreak, and deprivation.
35:40Sixteen frustrations
35:41She will sing songs in her own voice that evoke the personality of Fairouz and present them to a wider, younger audience.
35:46Simple, everyday language with an elegant, rocky edge.
35:48Music that feels easy
35:50It's the same deceptively simple way of speaking.
35:52This is the same style as Fairouz's singing; she sings while she's away from her holiday.
35:55Come, my dear, really listen to the song "Zay Keefak Qala'a Beyqoulou"
35:58You have children now
35:59I swear, I thought you were abroad.
36:01There's no meat, no happy ending, the hero is with the hero
36:04Two people loved each other but couldn't grow up together.
36:06But Desqasha is between them, that's all.
36:08Ziad Rahbani told Fairouz that she no longer needed a bribe.
36:11The voice, with its timbre like Fairouz's, now sings and gives space to the melody and lyrics.
36:16My dear, the voice I felt when it humbled itself a little—what else could humility be but beauty?
36:21Come, my dear, let me take you to the last scene of the episode.
36:24We're going to Anas's
36:25This, my dear, is a blank character in Milan Kundera's novel *Immortality*.
36:28Anas and Ha are walking down the street that leads to Milan Kundera.
36:31It's a street filled with violence, both visual and auditory.
36:33A thoughtful noise, it's one day
36:35When this ugly thing becomes tolerable, you'll buy a single stem that ends in a small flower.
36:39She'll walk down that noisy street, trying to focus all her attention on that one rose.
36:44She doesn't have anything in front of her eyes, she tries not to see anything else but it.
36:47She doesn't want to see all this ugliness, noise, and violence.
36:50A calm and beautiful blue dot
36:52As you say, my dear, in the eyes of many Lebanese people, there is a blue flower in his eyes.
36:56In the midst of war, violence, disturbance, division, and sectarianism, all you want is to focus your eyes on her voice and not see anything else.
37:04Second
37:05Sometimes she is your last refuge, your kind imaginary friend who alone knows how to listen to you, talk to you, and answer your eyes.
37:11Fairouz belongs to the people. She celebrated her 90th birthday last year. It's true she's a bit of a nutcase, but she's very generous.
37:16Constant gifts that never end for people
37:18Dear Aziz, you could spend your whole life opening Fairouz gifts.
37:22You'll always be surprised that there's a new song, and if you're not surprised that there's a new song, you'll be surprised by a new feeling.
37:27You'll find a song that makes you cry, a song that makes you dance, a song that takes you back to your country, a song that makes you feel homesick and alienated, a song that stirs up a memory or a feeling within you.
37:35You might never have known him; you might remember your first hug from your mother's leg.
37:40If you were to do something, my dear, you would find that the seasons of the year, at certain times of the day, might be linked to Fairouz.
37:45Morning, evening, summer, winter, whatever you say, my dear, it's impossible to grow old while you're still listening to Fairouz, that's all, my dear.
37:51Finally, finally, finally! The past is gone, the future is even more unforgettable. We've got some great resources, and we're on YouTube. Subscribe to the channel!
37:55You know, my dear, once a Lebanese man returned to his village and couldn't find it.
37:58God, why, Abu Hamad, was it lost?
38:00Dear Lebanese, please, we're not talking about Stein with the sister.