On the throne of Egyptian singing today, according to the revenue figures received from YouTube, a star named Hamo Beka, but the irony is that he does not have the slightest relationship with singing, nor with music, according to the Musicians Syndicate.

As for its appearance, it is so simple that it cannot be a passport to the world of fame.

This paradox raises the question about what drives a person with all the qualities that make his presence in the world of performing arts impossible, to become a star, achieve millions of views, and gain a legitimacy that is based only on a mass without reasons?

Is it a decline in taste that reached the bottom, or a message from an audience that decided to go out on artistic taste with all the aesthetics it inherited to express its anger and rejection of the past and the present?

The exoticism in the case of Becca begins with his name, which is difficult to find, and does not end when he reveals the number of views on his YouTube channel of the so-called festivals, not songs, which exceeded 600 million views.

Becca turned into one of the most famous and brightest stars in the Egyptian singing community, but that does not mean that he is a singer, musician or even a performer, a confession he made himself to the media and the listening committees of the Musicians Syndicate, but the strangest irony is that Beka did not receive any school education and he is, admittedly, my mother He does not read and he does not write.

Beca is part of a new situation for the Egyptian taste, its signs began to appear at the beginning of the second decade of the 21st century, and in the second half of it it turned into a phenomenon with all that it contained of breaking the rules of singing, music and stardom as well. Perhaps the crest of the wave and the most obvious is “Hamo Beca” or Mohamed Mahmoud The 33-year-old Alexandrian man.

Ahmed Adawiya (networking sites)

escape from reality

The public accepts this type of art in the wake of major defeats, whether they are related to failed revolutions or wars, and as Egyptian cinema witnessed films such as “Khalily Balak from Zuzu, My Father Over the Tree, Shanbo in the Trap” represented an escape from the relapsing reality after a severe defeat, the Lyrical phenomena grew in parallel to represent a state of "tasteful" opposition to the official singing, which was represented at the time by Abdel Halim Hafez, Umm Kulthum, Abdel Wahab and other singers who were always scheduled on the Egyptian radio and television.

By the mid-seventies, the late President Mohamed Anwar Sadat had made a comprehensive change in the values ​​of society, starting with capitalist transformation and openness, and ending with the Camp David Treaty, which prompted the audience to turn to Ahmed Adawiya's singing.

On the other hand, the class that was formed after the economic and political transformations was superior to him and considered it a low song, but the audience granted him legitimacy by accepting the cassette tapes that he was issuing at the time, which included shocking and strange words such as “Al-Sah Al-Dah Ambo” and others, as a departure from the framework of the emotional songs that Halim and "Thoma" and Abdel Wahab as the favorite theme of the song in addition to the national song.

Transcendentalists called this type of singing the name of folk singing, as the upper middle class prefers to give this name to the popular fashions that they do not consider appropriate and their level and corresponds to when talking about clothes the word "country".

Adawiya left generations of “popular” singers who revived the weddings that take place in the streets of popular neighborhoods or wedding halls, including Hassan Al-Asmar, Abdul Basit Hamouda, Saad Al-Sagheer, Mahmoud Al-Leithi and others, but the most severe transformations came after that with the low level of education and the harsh economic and social conditions.

Becca and Shaaban Abdel Rahim (communication sites)

The masses of Beka and his companions, such as Hassan Shakoush, Magdy Shatta, Omar Kamal and others, come in response to a public sense that feels certain that it has nothing to do with society as a major incubator, which is confirmed by the words of their songs in pride, for example, which is in the people of the neighborhood or region "Alexandria, Giza, Bulaq" and others, and this Singing, which is very local, prefers to discuss emotional topics from different angles.

While the songs of Halim, Amr Diab and Tamer witness a discussion with the lover, Hamo and his companions describe that lover in a sensual way and it seems that the description is not concerned with the lover. A phenomenon for both Shakush and Kamal.

Through its media, the authority sought to assert its power, through the composer Helmy Bakr on television programs, to abuse and insult Hammou and his companions, as he had done before with all the singers of the eighties, nineties and the 21st century. The latter's violence was received by Abd al-Rahim and his companions. He was received by Hamo and his companions with responses that were summed up in "We left art to you, but people love us and we want to work so that we can live, so leave us alone."

Beca's audience and his companions are not concerned with art standards, but he is trying to prove to everyone, including the authority and its art, that he has his stars who represent him artistically in light of an almost complete separation between two worlds, one representing authoritarian arts and the other spontaneous without standards.