Four decades on, the legacy of Umm Kulthum remains as strong as ever

Fans across the Arab world are this month marking 43 years since the death of the renowned Egyptian singer Umm Kulthum. (Pixgood.com)
Updated 07 February 2018

Four decades on, the legacy of Umm Kulthum remains as strong as ever

CAIRO: Fans across the Arab world are this month marking 43 years since the death of the renowned Egyptian singer Umm Kulthum.
Known as the “Star of the Orient” and the “Grand dame of Arab singing,” Umm Kulthum was one of the greatest performers ever to emerge from the Arab world. But her fame went far beyond the Middle East and Arab culture.
The great opera diva Maria Callas called her “the incomparable voice.”
Led Zeppelin singer Robert Plant and U2 frontman Bono were among the many Western musicians who admired Umm Kulthum.
The singer-songwriter and Nobel laureate Bob Dylan said of her, “She’s great, she really is. Really great.”
To Charles de Gaulle, the president of France, she was simply “the Lady.”
She was also popular in Israel with Jews and Arabs alike and in 2015 a street in Jerusalem was named after her.
Her 40-year career included starring in musical films during the golden age of Egyptian cinema and her monthly concerts broadcast from Cairo attracted huge audiences.
Since her death, her legacy as the essence of Egyptian and wider Arab culture has continued down the generations, giving her a near mythical status.

Early Life
Yet her origins were humble. She was born Fatima Ibrahim as-Sayyid Al-Biltagi into a poor family in Tammay Al-Zahayra in the Nile Delta. Her birthdate is uncertain and is variously given as Dec. 31, 1898 or May 4, 1904.
She was the youngest child of Sheik Ibrahim Al-Sayyid Al-Baltagi, the imam of a local mosque, and learned to sing by listening to her father teach her older brother. Her father taught her to recite the Qur’an and she is said to have memorized the entire holy book.
Her father also noticed her vocal talent and when she was 12, she joined the family ensemble performing at weddings and religious functions, but dressed as a boy to avoid public disapproval.

Moving to the city
After several trips to Cairo, in 1923 Umm Kulthum moved to the capital permanently where the well-known singer and composer Shaykh Abu Al-Aila Muhammad became her teacher and mentor.
It was not only her vibrant contralto voice that got her noticed. Umm Kulthum also wore traditional clothing, which earned her the nickname “the Bedouin.” Throughout her career she remained true to her humble rural origins.
She signed her first recording contract in 1926 and began to put together her own ensemble of musicians, or takht. As she mixed in Cairo’s cultural milieu, she met poets — most notably Ahmad Rami, who wrote the lyrics to 137 songs for her.
The virtuoso oud player and composer Mohamed El Qasabgi introduced to the Arabic Theatre Palace, where she had her first big success. In 1932, she embarked on her first major tour of the Middle East which took in Damascus, Baghdad, Beirut, Tunis and Tripoli, and in 1934, she sang at the inaugural broadcast of Radio Cairo

Legacy lives on
By the 1940s, Umm Kulthum was known as “the voice of Egypt,” through her radio broadcasts and regular concerts. She also performed privately for the Egyptian royal family and King Farouk I awarded her the Nissan El-Kamal, the nation’s highest order and one usually reserved for members of the royal family and politicians.
After the revolution of 1952, her friendship with the deposed king saw her ejected from the Egyptian musicians’ guild. When President Gamel Adel Nasser discovered Umm Kulthum songs were banned from the radio, he said, “What, are they crazy? Do you want Egypt to turn against us?” and insisted the musicians’ guild take her back.
He also took advantage of Umm Kultum’s fame, broadcasting his speeches immediately after her radio concerts. One of her songs, Wallahi Zaman, Ya Silahi (It’s Been a Long Time, O Weapon of Mine) was even adopted as Egypt’s national anthem from 1960 to1970 until President Anwar Sadat changed it to the less militant Bilady, Bilady, Bildady, which remains the national anthem today.
By 1975, Umm Kulthum’s health was of sufficient national concern to warrant daily updates in the Egyptian press. On February 3, 1975 she died of heart failure. She was 77.
Her funeral was a state occasion, with four million grief-stricken Egyptians lining the streets to catch a glimpse of her funeral cortege.
Her biographer Virginia Danielson summed her up thus: “Imagine a singer with the virtuosity of Joan Sutherland or Ella Fitzgerald, the public persona of Eleanor Roosevelt and the audience of Elvis and you have Umm Kulthum.”


Lack of spirit leaves World War II saga hanging midway

Roland Emmerich’s just-opened “Midway” comes nowhere close to the 1950s and 1960s war adventures. (Supplied)
Updated 14 November 2019

Lack of spirit leaves World War II saga hanging midway

CHENNAI: Movies on World War II have delighted cinema audiences for years. Nobody can forget the daring Allied escape in the 1965 “Von Ryan’s Express” with Frank Sinatra and Trevor Howard driving a train through Nazi-occupied territory.

There were others in that decade and earlier such as David Lean’s “The Bridge on the River Kwai” about British prisoners of war building a railway in malaria-infested Burma (now Myanmar). These were great classics, but recent efforts have not been as memorable.

(Supplied)

Roland Emmerich’s just-opened “Midway” comes nowhere close to the 1950s and 1960s war adventures. Despite audiences still being thirsty for WWII sagas and a star-studded cast (Patrick Wilson, Woody Harrelson, Mandy Moore, Ed Skrein and Nick Jonas), the film is unmoving, mainly because of the shallow characters. If the dialogues are stiff, the dramatic potential – including the relationship among the men – appears to have been left midway.

The film begins with Japan’s December 1941 air attack on the US naval base in Pearl Harbor, Honolulu, which dragged America into the conflict, and the flick follows America’s revenge mission culminating in the June 1942 Battle of Midway.

(Supplied)

For the US, it was a victory against all odds giving them control of the Pacific’s Midway atoll. It was also a major triumph of human spirit, but the film does not quite capture it.

Most of the exploits relate to real-life fighter pilot Dick Best (Skrein), whose devil-may-care attitude earns him the title “cowboy.” His wife Ann (Moore), the only female character, urges him on but seems a washed-out figure. However, there is plenty of action in the air with dog fights, bombings and pilots ejecting from burning planes high above the ground.

(Supplied)

For fans of singer Jonas, his small but significant part may appeal. He is sailor Bruno Gaido whose spontaneous and heroic action during a Japanese raid earns him promotion.

“Midway” plays at three levels, including one about Japanese military officers, and was shot in Hawaii and Montreal with a lot of computer graphics thrown in. The camera work (Robby Baumgartner) is impressive, but somewhere the soul is missing, and the characters fail to come across as real people.

Despite this, the film opened atop the North American box office last weekend with a reported $17.5 million in ticket sales.