What does it take to make it on the Egyptian pop scene? A young visionary, points Serene Assir in the direction of the stars "But before we begin," thus Hisham Turk, fledgling businessman, said, "there is no such thing as a secret to success. People who want to make it have the wrong idea of what it takes. The formula may vary from one person to the next, according to aptitude or personality, but in the end it's set -- and almost scientifically so." Turk is a precocious producer who, riding the wave of Star Academy and similar star-making programmes, launched a venture catering to the dreams of start-up singers with the object of turning them into pop stars -- literally. He calls his new company "a collective"; and in some ways this is what it is, a collective for musicians and lyricists. Yet, puzzlingly in the light of this term, both finances and business administration are entirely in his hands. To start with, the way it works is simple: "Young people call me up, we set an appointment for an interview. I like to discuss a range of topics with the candidate, observing his or her behaviour; my way of gauging both potential and commitment." Many are turned away for lack of talent -- or drive. Those who are enlisted are wholly refashioned: advised on their appearance (hair, makeup, skin condition, fitness, and occasionally suggestions for plastic surgery). Candidates are coached on how to speak in interviews, taught to sing (with a range of professionals and according to a range of methods), trained in dancing and generally aided in the process of "reaching deep into their souls to find the star inside them". Perhaps it is his relative inexperience in the field, compared to the Egyptian star-making producers Sherif Sabri and Nasr Mahrous, that allows Turk to speak openly and directly about exact physical, vocal and personality prototypes currently en vogue in Arab pop. Still, he belongs to a new generation of music-scene businessmen who have endeavoured to propel young performers to stardom, a process conscious, controlled, paid for and wholly packaged: once formed, the star can present a production company with a demo video clip for LE5,000. An acrylic medium, pop music is not only purely material but increasingly a function of the global capitalist wheel. Even the most cursory survey of popular music channels across the region will readily underline the link between the quality of a video clip and its star's success. Imported clothing, constant good looks and an expensive lifestyle are equally essential to said success. Yet Turk insists that making it is rather more involved: "Sure, you have to look right to be famous, but only insofar as the look you develop matches the soul of your music. I mean, there's no point in a young man coming out now and singing and dressing like Amr Diab. The reason is simply because he is not Amr Diab." Therein lies what Turk claims to be doing for a living: "I help people find their true, unique talent; only then do we determine the look and musical style; once we have determined the potential of a given artist and discussed how to mould him or her into whatever trends are happening." Both producers and singers often discuss the issue of "colour", the style that describes a particular artist or musical idea. The notion, according to Turk, is that, at any given point in his or her career, an artist should mark out his or her territory, and determine an individual, hopefully unique style: "If you think about it, that's how Mohamed Fouad became so famous. You see, he started off adapting his style and artistic persona to the requirements of the Egyptian population at large. Then he narrowed his target to the upper classes, becoming a nationally acclaimed pop star." Turk's problem, rather, is that artists come to him all the time wanting everything at once: "That simply doesn't work. You must mark out your territory as an artist, so that others learn to envy you and aspire to what you are doing. That is when you have really managed to do something new. Afterwards, you can shift to something different. But that process takes time. Patience..." Thus the insider's viewpoint is that being a true star is not as easy as many might claim in today's world of high-speed musical production. The personal adaptation, the creation of a persona and the sticking to it through interviews and public events, the need to constantly revise one's looks in order for the audience not to get bored with the presence of a given artist are all points that can only bore the layperson. Then again, who else gets to dance, sing and set new fashions all day -- and get paid for it?
