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Ya La Laa

You are free to share my content whenever you want , with a small restriction , to give credits to my user id or blog , this is how you can help me , but also to give me a reason to translate more , as I feel that I helped someone from the other side of the world and my efforts are not lost.

Ya La Laa


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He is also a prominent theologian whose works are favoured and taught by Hanbali jurists, but are also sometimes used by Ash'ari theologians. His works defends the Sunni creed according to the early theory of al-Ithbat wa-l-Tafwid, by which the theologian affirms anthropomorphic attributions to God (tashbih) without interpreting them metaphorically, while rejecting anthropomorphism and corporealism at the same time and demonstrating that the coloration[clarification needed] is unnecessary. However, despite rejecting anthropomorphism and corporealism in the totality of his works, he has briefly expressed a preference for viewing corporealism as indeed necessary in the end of his book Ibtal al-ta'wilat where he also affirms very dubious hadiths. This has caused a major controversy at his time and prompted Ibn al-Jawzi to write his book Daf' shubhat al-tashbih to repel the popular belief that most Hanbali jurists are anthropomorphist. That said, Abū Yaʿlā remains a major authority and his other theological works studied.[citation needed]

Abd al-Ghani al-Maqdisi (600H)Ibn al-Athir (606H)Al-Akbari (616H)Ibn Qudamah al-Maqdissi (620H)Ibn al-Athir (630H)Ibn al-Hajib (646H)Majd Ad-Din Ibn Taymiyyah (652H)Al-Mundhiri (656H)Al-'Izz ibn Abdessalam (660H)Abu Shamah al-Maqdissi (665H)Al-Qurtubi (671H)An-Nawawi (676H)Al-Qarafi (684H)Al-Baydawi (685H)

Written by the great scholar al-Hanbali Abu Qady Ya'la on al-Iman and topics related to it, among other related words of Imam Ahmad on the topic. This book is basically a thesis of Magisterium presented to the University of Medina in Aqeedah section, the book thus enjoys a long and interesting upstream research.

Bij FunX kan je niet meer om de tunes van Dystinct heen. Ya La Laa en Boussa hoor je vaak langskomen en daarom vond Sander het weer de hoogste tijd om bij te praten. Hij scoort niet alleen in Nederland, maar ook in Marokko gaat de zanger inmiddels keihard.

In de FunX-show 7/11 vertelde Dystinct dat hij inmiddels een mediatour achter de rug heeft in zijn vaderland. Het gaat internationaal dus ook lekker: "Als ik naar social media kijk, dan gaat het wel goed, maar ik ben niet meer teruggegaan naar Marokko." Dat is best opvallend te noemen, want de video van Ya La Laa is op het Avalon Music-kanaal miljoenen keren bekeken en het meest door mensen in Marokko.

Dystinct heeft verschillende radiozenders en tv-kanalen bezocht in Marokko, maar hij heeft nog niet mogen optreden in zijn vaderland. Dat komt mogelijk doordat Ya La Laa daar laat op gang is gekomen: "In het begin ging de track daar niet zo hard, maar alleen hier in Nederland. Pas maanden later is het daar gaan lopen. Nu loopt hij pas echt in Marokko."

Als Nederlandse Marokkaan die urbanmuziek maakt met latin- en arab-invloeden zegt Dystinct blij te zijn met de liefde vanuit Marokko, maar hij is ook voorbereid op een andere behandeling: "Ik ben wel Marokkaans, maar niet van daar. Ik word meer gezien als die Europese Marokkaan en moet mij extra bewijzen." Toch blijft hij dromen: "Je bent nooit tevreden. Je wilt altijd meer en meer en meer dingen doen. Ik ben blij waar ik nu sta, maar ik ben er nog lang niet. Ik blijf strijden."

Wat maar weinig mensen weten, is dat Dystinct niet zomaar in de muziekwereld is komen rollen. Zijn vader was een zanger en daarom ging hij als jong jochie vaak met zijn vader mee naar optredens: "Ik denk dat ik qua zang veel van hem heb overgenomen, maar het is wel een totaal ander genre dan wat hij deed. Ik had andere interesses. Ik wilde die Chris Brown-kant op gaan, maar dat kon thuis niet."

Verwacht de komende tijd veel vuur van Dystinct, want na Ya La Laa heeft hij ook een videoclip geschoten voor Boussa en nog een aantal andere tracks tijdens een Europese trip van vijf dagen. Dat ging overigens niet gemakkelijk: "Heavy! We zijn met de auto vanuit hier naar Kroatië gegaan. Onderweg zijn we in Frankrijk gestopt voor een clip met DJ Hamida. Toen zijn we in Italië gestopt voor een andere video, maar die was niet van mij. Daarna zijn we naar Kroatië gegaan om Boussa te schieten."

HAJJAR: You're seeing Arabic music kind of used in a way that kind of acts as a storytelling device and not necessarily in a way where we've seen in Hollywood in the past where, you know, it can play up on sort of orientalist and racist tropes of Arabs.

HAJJAR: And then I think you've had major global events, too, like the World Cup in Qatar, where you had people more exposed to kind of the culture, the region. You had one of the main FIFA anthems with Nicki Minaj, with Maluma and with Lebanese pop singer Myriam Fares.

CHANG: Danny Hajjar wrote about the global breakthrough of Arabic music for Pitchfork. His article begins at Coachella, the giant California pop music festival, where next month, Palestinian-Chilean singer Elyanna will perform on the festival's main stage.

HAJJAR: She'll be singing her entire set in Arabic. There have been Arab artists at Coachella in the past, but to have an entire set fully sung in Arabic is very new. And so it's going to be exciting. It's an exciting time. And you're seeing all these things kind of pop up across, you know, different countries across the world that feature Arab artists and Arabic music.

CHANG: I know that you've been talking to a lot of musicians and industry execs, and I was struck that one of them told you that he wants to replicate the success of Bad Bunny, who became like the most streamed artist on Spotify without making any English-language music. Why do you think people express so much optimism these days about where Arab artists are going now?

HAJJAR: I think there's a lot of optimism because we can see the groundwork happening. We can see what's happening from, you know, different pieces of the puzzle kind of starting to move together in tandem to put this picture together. You know, for Latin music, especially kind of with its global phenomenon, everything, that took years and years of firsts and artists coming through and trying different things and crossing over and what have you. And I think, you know, when "Despacito" came out, that really blew the door open for Latin music and a lot of ways. And then Bad Bunny essentially built on that foundation and is now just a megastar and has - and, you know, is one of the many artists that helped put kind of Latin music on the map. We're seeing the same things with Arabic. It's very nascent right now. It may seem like, you know, to us it's new and it's exciting and it's getting bigger and bigger, but it's still fairly nascent. And so we're seeing that happening on, you know, the foundational level.

HAJJAR: I'll definitely do my best to pick a few. One of them for sure is is Wegz. Wegz is an Egyptian rapper. And, well, I guess it's not fair to call him a rapper anymore because he's branched out into so many other genres. But what he's doing is so fascinating. I think he's so talented.

CHANG: Well, you know, we should note that these artists that we're talking about now are not by any means the first Arabic-speaking artists to break through to Western audiences. But is there anything different, stylistically or otherwise, with these newer artists? What would you say?

HAJJAR: I think a lot of times, Arab pop, especially since the mid-'80s, has sounded fairly the same. It sounds fairly formulaic. That's not to say it's not enjoyable, but it has kind of, you know, stayed within the same sort of framework. These new artists are combining, you know, R&B that you would have heard in the 2000s from Aaliyah or from TLC or Destiny's Child and they're putting Arabic to it. Or you've got artists that are doing, you know, drill rap in Arabic, and that is something that feels fairly new. And so you've got a lot of younger generation folks who are connecting with that because it's their language with music that they would listen to by a Western artist, for example.

CHANG: Right. You know, just listening to you talk, Danny, and hearing so much pride, so much joy in your voice that you're talking about this music, can you tell us more about what this means to you personally as someone who's a child of Arab immigrants, who's Arabic speaking? For someone like you to hear Arabic music becoming more and more popular, what does that feel like?

HAJJAR: I mean, you know, for the longest time, I felt afraid to speak Arabic in public because of, you know, the racial profiling that would happen for Arabs or Arabic-speaking communities. And now you have people using habibi, which is a term of endearment in Arabic, or people saying inshallah, which means, if God willing, just casually, colloquially, that is something that I never thought it would ever happen in the U.S. and, you know, let alone something where, you know, people are singing along or trying to learn Arabic or trying to understand the words or are into Arab artists. And so this, to me, means everything. 041b061a72


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