Hamid Al-Shaeri: a portrait of memory of the eighties


Hamid al-Sha'ri (1961) came from a crossroads where the Egyptian song was at the end of an era, to rebel against bold formulas that would contribute to the taste of a generation. It was like the announcement of a new spirit that embodied in its swiftness a young man who had been antagonistic and who had disobeyed the old man's ways. Although the problematic debate was about Hamid and his generation accused of breaking the tradition, his path remained in line with the demands of a market that strengthened his rebellion.

The '70s were looking for a noisy start, with melodic and rhythmic combinations; But Org's use in the orchestra played a joking role, like a machine playing the part of a whole band imitating different sounds. It had to be restored like an electric machine outside the orchestra, just like the little bands in the west. Hamid al-Shaeri belonged to the rebellious generation of the 1980s, while the 1970s were more satisfied, to form a starry Hani Shaker in a dress larger than his size, imitating Abdel Halim.

Many variables defined the poetics to emerge as a singer, then a band or a musical form, to be followed by one or two generations. Perhaps recording techniques and audio enhancements have contributed to the emergence of a generation that dominated their fragile voices, as the microphone played a role in the emergence of the generation of Abdel Halim Hafez. The voices moved toward the narrower spaces. As expressionist expression of Abdel Haleem was characterized by an emotional approach, since the 1980s the basis of expression has become a picture of the vitality and joy of young people.

The cassette became central to the star industry, and the Arabian music era ended with pop styles. On the one hand, he invented a new form of rhythmic rhythm through sound and pulsation, with the introduction of the hand deal, to be a distinctive feature in the late 1980s and early 1990s. His voice was loud, narrow, with a musical vision or a synthesizer. And a mix of Western and Eastern elements filled the market for a decade.

The wave was based on easy melodic themes and common words that surpassed it. The tendency for the melted cracking often went by throwing repetition of themes and reducing the tonality. The main obsession of these melodies was a passing, everyday tickle, a simulated atmosphere of street youth encounters and applause, which was part of the rhythmic path. It is also love and youth in love. Thus the music was called "youth" or "fast" … and "descending".

The poet did not get on his first album, but was still required as an option for market prosperity. He did not abandon his style, but bet on it in a modified way. With his success as a singer, and later as composer and distributor of music, the market vibrated. Hameed was present in the imagination of the generation with his melancholic melody and sang "Sahli, Jalgli" as a metaphor for the elites to stigmatize the melodies of the generation, but the market defended him as their demand and as central among a multitude of young stars. Perhaps the roots of Libya's role Hamid al-Shaeri in the liberalization of restrictions and the emergence of such boldness.

In Egypt, Hamid al-Shaeri was accused of being behind everything a musical fall, so that some chauvinistic tendencies led the young Libyan responsible for the decline of music. Some even speculated that this trend was just a bubble that could be eliminated. The '80s were a remarkable case between two separate times. . It is also the generation of the eighties that received the painful death of the father and Shax in his own way.

Even though the audience was dazzled by this wave, he was still looking at it with confusion, drawing into his consciousness that everything that belongs to good taste necessarily belongs to the past or to the parents, but he dances and smiles with his songs. In Hameed's account, there are more lyrical features limited to such themes as "Nesma Saba".
Al-Shaari bet on the synergy of the album "Akid" in 1986, with four duets, with Alaa Abdul Khaleq, Hanan, Suzanne Attieh and, more importantly, the song "Akid" next to Muhammad Munir, who showed in a different bridal tone. Hamid and his generation needed cohesion before the defenders?

On the other hand, Hamed Al-Shaeri's most notable success was on his 1988 album "Milly", but his most prominent presence in the same year was as a music distributor, distributing half of the songs on the album "Myal", debut in stardom and their first collaboration. The album, "Loulaki", was also distributed, which reached the highest penetration in the Arab world. He ended up with his companion Ali Hamida as a sign of stigmatizing this trend in the bubble.

Years later, Hamid al-Sha'ri will be banned from singing in Egypt as a result of inciting extremist incitement against his current, by a court order. However, it remained a fate for Egyptian lyricism as a source of success. With the emergence of more Eastern orientations and orientations, they differed from those of Hamid al-Sha'ri, and achieved popularity through the use of Western and Oriental instruments in the repertoire of dancers. The poet sought to diversify his elements by stating his presence as a new music bearer in the Arab world. He recovered some of Baligh Hamdi's themes in Mustafa Amar's "Lovers 'Boat," and using a bit of Tarbith's atmosphere through the East Vtrih in the Raja Balmleih distribution, though the Kurds' place had run out. During the 1990s, he still had surprises.

The poet was also one of the most important stations in the musical distribution of Amr Diab to the top. She also participated in the Spanish guitars for the first time in the song "Willemoni" with her dance flow.
The "Cape" dates back to 1996 to distribute one of Amr Diab's most important works, Nour El Ain, made up of the other Libyan, Nasser Al Mazdawi. It was the frenzy that drew the world back into copies in several international languages. A new phase began in Amr Diab's march toward global success. Hamed's musical distribution played a key role in its wide diffusion: Spanish guitars sang with fluid chords and an impressive rhythmic theme, with a brilliant accordion stamped with a short ponytail and a dancer. After the album "Oudoni" in 1997, "Cabo" was less dazzling, after the market exhaustion.

In the early nineties, the poet appeared in the video clip of Muhtadna Gitarh, and around him a group of young singers, who was assigned the responsibility of directing his career, singing and singing with him. Most of them became first-class stars in the 90s and beginning of the new millennium: Ehab Tawfik, Hisham Abbas, Mostafa Amar and Hakim, who appeared in a more elegant popular costume. The image evokes the presence of Capo as a symbol or leader of that generation, and it was a kind of friendship or fellowship, contrary to the patriarchal image that Abdel Wahab had previously held.

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The Eighties were confused and confused, noisy in their colors and contradictions, and Hamid Shaeri was one of their faces. Two decades ago no one would have thought it possible to write about the poet's experience and its musical effect in serious terms. Whatever he did, to his followers, embodies the exaltation, some also defended the recession as a patriarchal Islam whose function was to monopolize taste and direction. Three decades later, he would not care much about writing my dream of Bakr, while the disobedient Capo, with his experience, raises many questions: What did he do? With a less complex musical distribution, it has become a symbol of a generation and a style maker that shakes the corner market in the Arab world, though its vision is not ambitious beyond reach.


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