This has been characterized as part of a process of the appropriation of credit for innovation of the then new music by a white establishment. There was a series of attempts to find (and a number of claimants to be) the 'King of Rock 'n' Roll', a title that became most associated with Elvis Presley. These patterns of naming were transferred to rock and roll when it emerged in the 1950s. In the 1930s and 1940s, as jazz and swing music were gaining popularity, it was the more commercially successful white artists Paul Whiteman and Benny Goodman who became known as 'the King of Jazz' and 'the King of Swing' respectively, despite there being more highly regarded contemporary African-American artists.

culture, despite its republican constitution and ideology, honorific nicknames have been used to describe leading figures in various areas of activity, such as industry, commerce, sports, and the media father or mother have been used for innovators, and royal titles such as king and queen for dominant figures in a field.

They were also particularly prominent in African-American culture in the post- Civil War era, perhaps as a means of conferring status that had been negated by slavery, and as a result entered early jazz and blues music, including figures such as Duke Ellington and Count Basie.

Honorific nicknames were used in classical music in Europe even in the early nineteenth century, with figures such as Mozart being called 'The father of modern music' and Bach 'The father of modern piano music'. Through recordings of his concerts he thus became the most famous ud player in the Arab world and earned the nickname 'King of the Ud.When describing popular music artists, honorific nicknames are used, most often in the media or by fans, to indicate the significance of an artist, and are often religious, familial, or (most frequently) royal and aristocratic titles, used metaphorically. Atrash revived the dying use in concert of improvised instrumental solos (tagasim) as part of a longer piece, by lengthening the instrumental introductions to his songs and building tagasim into them. Aside from his singing prowess, Atrash was a virtuoso ud player: he studied the instrument at Cairo's Institute of Arab Music and in fact began his professional career accompanying and older singer. Atrash was part of a musical family: His mother, 'Aliyah,' supported the family by singing, and his sister, Asmahan, appeared with him in many movies. He was born in Syria, but moved to Egypt with his mother, when he was around nine years old. Singer/instrumentalist/composer al-Abash was notable for a deep voice with an evocative quality of poignancy, the fact that within the pop field he sang in styles regarded as 'authentic' in both Egypt and the Levant, and above all for his extensive use of the ud.

Download farid el atrash songs mp3