Ihsan al mounzer biography examples

Music genre

This article is about the music genre. For the entertainment venue, see Nightclub. For other uses, see Disco (disambiguation).

Disco is a genre of dance music and a subculture that emerged in the late 1960s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopatedbasslines, string sections, brass and horns, electric piano, synthesizers, and electric rhythm guitars.

Discothèques as a venue were mostly a French invention, imported to the United States with the opening of Le Club, a members-only restaurant and nightclub located at 416 East 55th Street in Manhattan, by French expatriate Olivier Coquelin, on New Year's Eve 1960.

Disco music as a genre started as a mixture of music from venues popular among African-Americans, Hispanic and Latino Americans, gay Americans, and Italian Americans in New York City (especially Brooklyn) and Philadelphia during the late 1960s to the mid-to-late 1970s. Disco can be seen as a reaction by the 1960s counterculture to both the dominance of rock music and the stigmatization of dance music at the time. Several dance styles were developed during the period of 70s disco's popularity in the United States, including "the Bump", "the Hustle", "the Watergate", and "the Busstop".

During the 1970s, disco music was developed further, mainly by artists from the United States as well as from Europe. Well-known artists included the Bee Gees, ABBA, Donna Summer, Gloria Gaynor, Giorgio Moroder, Baccara, The Jacksons, Michael Jackson, Boney M, Earth Wind & Fire, Rick James, ELO,Average White Band, Chaka Khan, Chic, KC and the Sunshine Band, Thelma Houston, Sister Sledge, Sylvester, The Trammps, Barry White, Diana Ross, Kool & the Gang, and Village People. While performers garnered public attention, record producers working behind the scenes played an impo

Composer

Lyricist

Song Title

Original Artist

Comments

Background:

Orbital fractures are a common sequela of maxillofacial zone trauma. Rapid assessment and management are essential for successful reconstruction. The selected treatment method depends on fracture types, accompanied injuries, and intervention time. Implantable grafts used to be from autologous materials. The study aimed to evaluate the effectiveness of using the auricular conchal cartilage taken from the ear to repair orbital floor fractures in cases of minimal bone loss, less than (2×2) cm.

Material and Methods:

A prospective single-arm, nonrandomised clinical trial was conducted during the past 4 years (from 2018 to 2022). A total of 15 cases, who had visited the department of oral and maxillofacial surgery department with orbital floor fractures, were enrolled. The participants underwent conchal cartilage grafting for orbital floor fracture reconstruction. The time factor to perform the surgery after trauma had been considered. Patients were closely monitored for the development of double vision (diplopia) at 15 days, 1 month, and 3 months postsurgery.

Results:

The results showed statistically significant differences during the follow-up period following the surgical procedure. They appeared to have complete restoration of eye movements, restoration of the normal positioning of the eyeball affected by the orbital floor fracture compared to the healthy eyeball, and regression of double vision (diplopia) throughout the follow-up period.

Conclusion:

Using the auricular conchal cartilage graft in repairing fractures of the orbital floor resulted in the improvement of the functional aspect of the eyeball and the restoration of the esthetic aspect.

Keywords: cartilage graft, diplopia, ear, maxillofacial surgery, orbital floor fracture

Background

• The ideal implant used i

In a hilly residential district in the suburbs of Beirut, under the ground-level car park of an indistinct apartment building, stands a statue of the Virgin Mary and a neon sign with the words “Al-Mounzer Super Sound”.

Wearing a loose-fitting navy blazer, open-collared shirt and jeans, Ihsan Al-Mounzer opens the door with a warm smile. The legendary composer and arranger has been making music here since the 1990s.

Recommended Stories

Arab music industry new target for global streaming giants

Ali Ismael: Egypt’s Musical Maestro

Florence Price: The story of America’s forgotten musical genius

Unsilencing sanctions: Iranian musicians launch album in Germany

The soft-spoken septuagenarian walks through the reception lounge of his studio, gesturing at a wall lined with images of icons of Arabic music.

“This is our history,” he says, accentuating each word.

In the early 1980s, his career was at its height. A bandleader on a popular Tele Liban talent show called Studio El Fan, a pianist who joined iconic Lebanese singer Fairouz on her international tours, and a composer and arranger with a fresh approach to Arabic music, he was one of the busiest people in the regional music industry.

At the time, Lebanon was in the midst of a complex and debilitating civil war that was to last for 15 years, from 1975 to 1991, and partition the capital city into East and West Beirut. Though the conflict weighed heavily on the Lebanese population, claiming some 200,000 lives and displacing close to a million people, daily life went on – as did the entertainment industry.

In many ways, the civil war stunted a previously thriving music industry and impacted the careers of even the most well-known artists. Al-Mounzer, though, was among the exceptions.

By day he would spend his time at Polysound, a recording studio in the basement of an