Pascale Machaalani to Asharq Al-Awsat: No One Can be Called ‘Lebanon’s Top Singer’ with Fairouz Around

Pascale Machaalani.
Pascale Machaalani.
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Pascale Machaalani to Asharq Al-Awsat: No One Can be Called ‘Lebanon’s Top Singer’ with Fairouz Around

Pascale Machaalani.
Pascale Machaalani.

Lebanese singer Pascale Machaalani has released her new song “Jnan Bijnan” (Insanity over insanity), her first track for 2021. She also 30 years on the Arab music scene.

In an interview with Asharq Al-Awsat, Machaalani said that she wants to achieve great things in the coming period, including the release of an exciting new album. She stressed that she is not interested in being called “Lebanon’s top singer,” believing it would be disrespectful to be labeled as such while legendary Lebanese singers like Fairouz and Majida El Roumi are around.

What prompted you to make the song “Jnan Bijnan” your first of 2021?
I wanted my first song for the new year to carry a message of positive energy, joy and hope, as we’re currently living in times of crisis, especially with the Covid-19 pandemic and the aftermath of the August 4 Beirut port explosion. When the Egyptian poet Ramadan Mohammad wrote the lyrics for me, I liked them very much, and I immediately started recording the album in the studio of my husband, the composer Melhem Abu Shadid.

Can you tell us more about your new album?

My album has been ready for release on the market and online platforms for nearly a year and a half, but, as I have said, the conditions in the Arab world, especially in Lebanon, are not stable. However, I will release the album two weeks after Eid al-Fitr if the conditions over the next few weeks allow it. If not, then I would only release one song and postpone the rest of the album’s release until mid-summer. I collaborated with very well-known poets and composers from Egypt and Lebanon when producing my new album, which is actually a mini-album and not a complete one.

Can you tell us the differences that you have seen between the era when you first ascended onto the music scene in the 1990s and now?

Every era has its own distinctive events that define it. I first made my debut on the Arabic music scene at the end of 1992, a time when many Lebanese artists were facing many difficulties in making a name in the music industry because of the Lebanese civil war. However, what’s unique about that period is that we only had a few Arabic TV channels for publicity, so an ascending artist had to work very hard to ensure that the audiences remember their name. In my opinion, that’s the main reason why the stars of that era continue to be successful today, because they had to work hard for it and their names are engraved in stone, unlike the stars of today, who have it easy with online platforms. But their success lasting for long is not guaranteed.

What does Machaalani strive for after three decades in the music industry?

I’d like to do a large theatrical performance, similar to those of the artists Wadih El Safi and Sabah. I’d also like to produce a complete musical album, and finally, I hope I will have the opportunity to act in a film that combines romance and comedy.

Can you tell us why you’re not interested in being labeled as “Lebanon’s first singer”?

In the presence of icons like Fairouz, any other singer in the Arab world would come in second place. For me personally, I don’t care about titles because I believe that every artist has their own personality and voice that distinguishes them from the others.

Why have you been late to get into the film industry?

I think it is due to contingencies that I wasn’t able to fulfill my dream of acting. I once worked on a production that never saw the light of day because the producer and director were replaced in mid-production. I have no objections to acting, but if I decide to do it, it will be in a romantic comedy, not a drama, as I will show my true personality to the audience.

When will you consider retiring?

When my voice and my physical appearance fail me, and I’m not able to make good songs, I will announce my retirement, but so far, I have been able to continue in my career.



‘I’m Still Here’ Spotlights Brazil’s Authoritarian Past

Fernanda Torres poses with the award for Best Performance by an Actress in a Motion Picture — Drama for "I'm Still Here" at the 82nd Golden Globe Awards in Beverly Hills, California, US, January 5, 2025. (Reuters)
Fernanda Torres poses with the award for Best Performance by an Actress in a Motion Picture — Drama for "I'm Still Here" at the 82nd Golden Globe Awards in Beverly Hills, California, US, January 5, 2025. (Reuters)
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‘I’m Still Here’ Spotlights Brazil’s Authoritarian Past

Fernanda Torres poses with the award for Best Performance by an Actress in a Motion Picture — Drama for "I'm Still Here" at the 82nd Golden Globe Awards in Beverly Hills, California, US, January 5, 2025. (Reuters)
Fernanda Torres poses with the award for Best Performance by an Actress in a Motion Picture — Drama for "I'm Still Here" at the 82nd Golden Globe Awards in Beverly Hills, California, US, January 5, 2025. (Reuters)

A white house in a quiet corner of the city of Rio de Janeiro, Brazil, has been attracting a stream of visitors in recent weeks.

They are eager to see the family home portrayed in the Academy Awards nominee film "I’m Still Here", in which a mother of five rebuilds her life while struggling to uncover the truth about her husband's forced disappearance during Brazil’s military regime in the 1970s.

"We came here to pay homage to the family," said visitor Daniela Gurgel, as she roamed through the house. "Raising this story at this time is very important."

The film's three Oscar nominations - best picture, best international feature, and best lead actress - cast a global spotlight on both the real story of Eunice Paiva and her husband Rubens Paiva, and the authoritarian government that upended their lives. The military ruled Brazil between 1964 and 1985.

"Seeing the world watch this story is the recognition of a struggle that my family has been fighting for over 50 years," said Marcelo Rubens Paiva, the son of Eunice and Rubens and the author of the book on which the movie is based.

This struggle, he added, is one "for respect for human rights and democracy."

Brazil's dictatorship ended four decades ago but no one has ever been held accountable for the murder of hundreds of its critics or the torture of what many believe were tens of thousands. Even Rubens Paiva's disappearance, one of the most emblematic cases of human rights abuse of that time, is still an open case before Brazil's Supreme Court. His body was never found.

In 2010, the court upheld a 1979 law, passed during the dictatorship, that pardoned the crimes committed by the regime. But prosecutors and others who oppose the ruling still have cases pending before the court, including Paiva's.

On Friday, the Brazilian government provided families some relief.

Rubens Paiva's death certificate was amended to register that the cause of his death was "unnatural, violent, caused by the Brazilian State in the context of systematic persecution of the population identified as political dissidents of the dictatorial regime established in 1964".

Actress Fernanda Torres, who plays Eunice Paiva in the movie, said: "They did everything they could so that there would be no body, so that there would be no memory, so that it would not be spoken of, so that it would remain hidden in a corner."

But, she added: "This story will not be forgotten."

More than 400 other death certificates from victims of the military dictatorship all over Brazil will be rectified in an effort led by the Special Commission on Political Deaths and Disappearances under former human rights minister Nilmario Miranda.

"The film came as a gift from heaven for us, because it deals with a political disappearance," Miranda said. "The families feel that Brazil needs it. This debt to democracy is being redeemed now."