On Sunday, the Saudi artist, Muhammad Abdo, apologized for his recent statements regarding the late artists, Talal Maddah and Abu Bakr Salem.
Muhammad Abdo said in a video clip that was widely circulated on social media, following he congratulated on the occasion of Eid al-Fitr, “Our Lord, have mercy on our dead and the dead of all Muslims, and I especially mention my loved ones, my friends and my teachers, Abu Aseel Abu Bakr Salem Balfaqih, and our great teacher Talal Maddah, The truth of those who shared my joys and my sorrows, and I owe them great credit, as I lived among them and shared their joys and sorrows.”
And the Saudi artist added, “I apologize to them (Abu Bakr Salem and Talal Maddah) and to all their lovers and all their families and families, because in one of the Ramadan interviews that were sharp, I hope for forgiveness and I ask their followers, loved ones and fans to excuse me in that expression that was only artistic, and since the interview is She was sharp, and this was her style and presentation in this way, but she was harsh, and I admit that, and since she completely went outside her artistic scope that is understandable to people, I apologize to you and them, and they were seeking excuses for me, in our jokes and joking we found, God’s mercy on all of them, virtuous professors that do not beat In their arrow, technically and morally.. Thank you, and among the winners.”
The apology of the Saudi artist, Muhammad Abdo, came in response to the wave of criticism that affected him because of his statements, as he described the tune of the song of the late artist Talal Maddah, “My Beloved Country” as “stolen”, and considered that the late artist Abu Bakr Salem did not leave a “national legacy” in art.
Yemeni critic and writer Abdul Rahman Al-Ghabri launched a scathing attack on the artist, Muhammad Abdo, and said, via “Facebook”, that it was an “unfortunate fall.”
Yemeni activist Rahma al-Aghbari published part of the interview, and commented: “From the sayings of the giant Abu Bakr Salem Balfaqih, unfriendly, shows what time hides, no matter how challenging him.”
Another activist called “Mountain Russia” said, “Muhammad Abdo cannot bring down a giant like the creative artist Abu Bakr Salem Balfaqih from the throne of beautiful art just because he spoke in his absence.” She added: “The deceased of Yemen and original art, Abu Bakr, a diamond throat, a wonderful performance, beautiful choices, a refined history, and a school in culture, morals, modern art and dealing.”
Yemeni journalist Abdulaziz Al-Sabri called on everyone to “hear patriotic songs presented by the artist Abu Bakr to Yemen,” and said: “Listen to the two masterpieces of Abu Bakr Salem (Yemen’s Abu Dhabi) and (Yemen’s Mom) with his brilliant, flying voice, passion, love and care.” Adding in a post on “Facebook”: “Abu Bakr Salem Balfaqih sang his national song for his homeland, Yemen. May God have mercy on the great artist Abu Bakr Salem, who wrote, composed and sang the song “My Mother Yemen.” The motherland has not been changed by the years of exile and diaspora.”
The social networking site was buzzing with Abu Bakr Salem’s songs, accompanied by expressions of gratitude for the artistic and musical legacy immortalized by Abu Bakr Salem. The head of the Cultural Media Center, Widad El-Badawy, considered on her Facebook page, “Anyone who talks regarding the giant Abu Bakr, this touches the artistic self of humanity, Abu Bakr is not a competing artist, because he is incomparably large. She added: “Above all, uh, above all, greater than titles, and a phenomenon that does not repeat. Anyone who comes to the giant, this is evidence that he is very small and small.”
Yemeni critic and poet Muhammad al-Qubli pointed out that Abu Bakr “was turning the night around with his voice and spirit.” He said on his Facebook page: “Abu Bakr is a highly meditative artist. He did not say that.. Yemeni songs related to meditation and stillness. Abu Aseel’s performance was high in them.” Distinguished and excellent, especially those night songs, in which his performance was completely changed by the lively bass voice.”
He continued, “He seemed calm and had a hint of sadness. He was captivating and engulfing the soul in a strange and strange way. This appeared in a very emotional and emotional way in the song (Oh, Lil, do I complain) and in the old recording of it.”
