In the video clip of Mohamed Mounir’s new song, 7 young men who look like him appeared, standing in his stance, swaying like his famous tendency. With his tan, his curly hair and his accessories, even his laughter, there were those who had the same, but they were all not him.
The words also came in rhymed rhyme, carrying a musical rhythm, but the auditor in their meaning, does not find a clear meaning, meaning that the whole thing was a similarity of an artist repeating what is like a song.
Mounir in his simplicity, and its view on us; We are most delighted.
The song “Lee” based its success on two factors, the first of which is the artistic and historical legacy of Muhammad al-Munir, who is considered by some, including myself, as “the last king of singing in Egypt”. This element achieved its goal, illumined by its simplicity and its appearance on us; We are most delighted.
The second element, which is surprising to us, is that the song is written and composed by the Egyptian actor Akram Hosni, who achieved great popularity through successive comedies, meaning that he did not find his success on a silver platter, but this element was a source of weakness rather than strength.
Akram Hosni wrote many songs, and also composed them, within the context of his comic works, starting with the songs that were shown on his program “The Twenty-Fifth News Bulletin” in 2008, in which he presented his famous character “Sayed Abu Hafizah”, all the way to the series “The Will” in 2018.
Akram Hosni’s songs were not serious, and therefore no one addressed them with criticism or analysis, and no one commented on his singing ability, the extent of the originality of the melody or his influence and quotation.
Laughter for the sake of laughter was the message of the work, and then the audience received it as a comedy meal from a talented actor. As he presented himself as a poet and composer for one of the most important Egyptian singers, it was obvious that people looked at the word and the melody.
The first crisis that the new song erupted was the accusation of its author of theft, especially the verse, “He who opened the door of pain … is obligated to answer it.” Mild adjustment.
The type of flour knows from his response
And if your question is ugly, he will be afraid of his answer
All misfortunes must have causes
And he who opened the door of ruin is obliged to return it.”
Akram Hosni says:
“I asked him if he was ill, the answer stopped him
The pamper’s leg, the pamper’s leg, the keys to his love are repelled
And I walked awkwardly in the farewell, and I didn’t want him to reply
The one who opened the door of pain is obligated to return it.”
There is a similarity between what was written in the doctrine of the song “Lee” and what was written by the poet Adel Saber, there is also a congruence between the last part of both of them. In the matter there is a suspicion of literary theft, and another party represented by the artist Akram Hosni, who defended himself the accusation, under the pretext of “talking ideas”, and wondering: Does the similarity of a house between 20 lines in the song mean that I am a thief of the song?
Many talented young poets, of Sa’idi origin, dream that Muhammad Munir sings a poem of their own, so why ignore? This was the question of a frustrated young poet
The controversy over the accusation of theft was not resolved, i.e. we did not find a definitive answer to the Egyptian representative’s question, but in any case, the case went to the courts, and the poet Adel Saber announced, lawyer Adham Al-Aboudi, an Egyptian novelist, volunteered to take the matter before the judiciary.
Another issue that remained unaddressed is the quality of the word sung, and the value that the latest songs of “King” carry. By “value” I do not mean here to carry a moral or epistemological message, for that is not the goal of art, but the simplest thing is the topic that it deals with, or the situation that can be stood in relation to it. The poet represented with wisdom derives from a popular proverb; Like “what if your lover was honey you wouldn’t get rid of it all”.
I suspect that the reason is the thinness of the words and their lack of coherence; The author is not a poet. According to his Facebook post, he wrote that his main profession is an actor, and “I love making songs as a hobby.”
No one questioned Akram Hosni’s ability and talent as an actor, but is it logical that he write songs for a singer worth Mounir, just an “amateur”? According to his statement.
Another thing that caused this was that no one wanted to enter writing in the Sa’idi dialect; Except for the “squares” section, as it is the easiest area, both in terms of its shape based on four segments; The first, third, and second agree with the fourth, or in terms of the “uprooted” sea, it is easy to write.
Also, the poet’s reliance on linguistic construction, or complete alliteration, is something that only those who are looking for an alternative for their weak vision resort to, and the best evidence is; None of the great Upper Egyptian poets who wrote to Munir resorted to this “technique”. Rather, their poems had a clear content, not just dancing language games.
In my opinion, the Egyptian actor is not solely responsible, but Mohamed Mounir, who has recently become afraid of experimentation and is satisfied with the usual safe space; It makes him bear a large part of the responsibility, for if the brown young man, born in the village of Manshiet al-Nuba in Aswan, in 1954, and who came to Cairo as a dreamy young man, was satisfied with what is safe, he would not have become what he is now.
Mohamed Mounir collaborated with an actor who claims to be a hobby of poetry, which gives me a stinging pain, especially if we remember the attempts of young poets to reach it. “And the owner of a number of successful songs, the most famous of which is “Wasima Theaters” with the “Imdan Nour” band, and he was known for his love for Munir, and his dream of cooperating with him.
“Al-Najjar” recounts more than once on his Facebook page, how someone took advantage of him and gave him a “fake” date with “The King”, after 6 months of “Al-Mahayleh”, in which this person claimed to be the artist’s business manager, but the young poet when he went on his appointment To Mounir’s house, carrying a bouquet of roses and some of his poems, and many dreams. His dreams soon evaporated and his roses withered; After the artist came out to him, and asked him to leave them and go.
As if what happened to Mounir is a microcosm of what is happening in Egypt, when her poets were poets, her representatives were representatives, and even her craftsmen were craftsmen and industrialists, the lyrical project of Mounir was made by great poets, but now, in the era of “similarity”, semi-singers appeared in the clip, chanting what looks like a song
The young poet says: “Almost all those around me know that it is my dream to meet him for just two minutes, and I can change the world in two minutes… But unfortunately, in our field no one helps anyone. I’m not a writer.”
The accusation of plagiarism still exists, and Akram Hosni was charged with another accusation of stealing the melody from a young singer and composer, although both were based on a folk melody that they did not refer to.
I do not think that Akram Hosni intended to steal, but his use of worn-out templates, whether in writing or melody, deprived him of the blessing of exclusivity, and hit him with what is called “the fall of the hoof on the hoof”, if we exclude the last line in the first doctrine.
As if what happened to Mounir is a microcosm of what is happening in Egypt, when her poets were poets, her representatives were representatives, and even her craftsmen were artisans and industrialists, the lyrical project of Mounir was made by great poets, such as Al-Abnoudi, Jahin, Magdy Naguib and Abdel Rahim Mansour, but now, in the era of “similarity” In the clip, pseudo-singers appeared, chanting what looked like a song.
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