Latest news with #Ibraheem
New Straits Times
08-05-2025
- Entertainment
- New Straits Times
#NSTviral: Aliff Syukri praised for parenting approach as son gets first phone at 13
KUALA LUMPUR: Cosmetics entrepreneur and singer Datuk Seri Aliff Syukri has once again made headlines, this time following a heartfelt gesture towards his 13-year-old son. Known for his lavish lifestyle and frequent displays of wealth on social media, Aliff drew attention when he took his son, Ibraheem Adham, to a store to purchase his very first smartphone. In a post shared via Instagram, Aliff explained that he had promised to buy Ibraheem a smartphone only after he turned 13. The decision, he said, stemmed from a desire to prevent his children from becoming overly reliant on gadgets at a young age. "I wanted Baem (Ibraheem) not to become too absorbed in gadgets and to learn to appreciate the value of things. "It is not easy to own something valuable. "He often asked why he didn't have a phone yet, when all his friends did. "But I always told him to be patient; it just wasn't the right time. "Now, his wish to have his own phone has finally come true," he said in the post. The Instagram post included photos of Ibraheem holding an iPhone, marking a significant milestone for the teenager. While the gift may not carry the same jaw-dropping price tag as the RM1.5 million worth of gold jewellery Aliff once bought for his wife, Datin Seri Shahida, it nevertheless drew praise online for its underlying message. Netizens responded positively to the post, with many applauding Aliff's decision to instil values of patience and gratitude in his children. "I admire your way of parenting. Even though you could easily give them a phone, you do not spoil your children with luxury," commented one user. Another wrote: "Both you and your wife are wise in raising your children. "Even though you are millionaires, you do not spoil them with luxury and instead teach them the value of a humble life." Others praised his parenting approach, noting that 13 is a reasonable age for a child to begin using a smartphone responsibly. The post has since garnered 32,900 likes on Instagram.
Yahoo
02-05-2025
- Yahoo
More than 20 guns, drugs seized during search at Harrisburg home
DAUPHIN COUNTY, Pa. (WHTM) — More than 20 firearms and drugs were taken off the street after a search at a Harrisburg home Thursday, according to court documents. While officers were searching the home in the 3000 block of Derry Street around 6 a.m., they found Ronald Ibraheem, 23, of Harrisburg, inside and took him into custody, police say. Listed below was what officers found during the search, according to court docs: 23 firearms (to include pistols and rifles) Five 'auto swear switches,' which were known to make a firearm full automatic a 3D printer Xanax pills Drug paraphernalia Marijuana Ibraheem has a criminal history, so he can not legally own firearms, according to police. He was charged with aggravated assault in 2017 and with possession of a firearm by a minor in 2016. Close Thanks for signing up! Watch for us in your inbox. Subscribe Now He faces charges that include 22 felony counts of possession of a firearm prohibited, six misdemeanor counts of possession of an instrument of crime with intent to use, and three misdemeanor counts of drug offenses. He is locked up with his bail denied by Magisterial District Judge Michael Smith. A preliminary hearing is scheduled for May 19. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
27-02-2025
- Entertainment
- Yahoo
A Knock on the Roof: This skirts the issue of the war in Gaza
The Royal Court is caught between a rock and a hard place when it comes to Gaza, which has of course dominated the news since the massacre of October 7 2023, with the BBC's recent compromised documentary and a grotesque AI video envisaging a gawdy Trumpian make-over of the Strip the latest rounds in the info war. To avoid the subject looks like a failure to engage with the issues and bear witness to suffering on both sides – but it's such a minefield that it's eminently possible to satisfy no one, add nothing and stir anger. New artistic director David Byrne inherited a financially shaken institution and one reeling from accusations of anti-Semitism, following the outcry over the perceived (if excised) bias in Rare Earth Mettle (2021). His counter-intuitive move was to programme a surprise hit about the furore around Roald Dahl's anti-Israeli/Jewish prejudice, Giant. Still, I can't imagine he'd be rushing to restage Caryl Churchill's controversial short play Seven Jewish Children (2009) – in which Jewish adults reflect on what to tell their children about Israeli actions and forge a shared narrative line. Due caution aside, A Knock on the Roof, written and performed by Khawla Ibraheem – who's based in the Golan Heights – represents an odd half-way house. One can lay aside the demand that the theatre should be fully addressing October 7, and the hostage crisis. Even so, this particular focus on the Palestinian perspective – seen at the Traverse theatre last summer – seems too narrow by half. The title alludes to the IDF practice of firing bomblets on buildings to warn of an impending strike, in theory allowing for evacuation. It's a tactic much used in the current war, but Ibraheem's script dispenses with directly contemporary references; there's no mention of October 7, or Hamas. Markedly depoliticised, the emphasis is on the personal: a young mother called Mariam repeatedly frets about how she will escape her flat, with belongings and six-year-old son, should that 'knock' come. Ibraheem has charm and a stylishly dressed presence that enlists your sympathy in the descriptions of a daily life that morphs from logistical challenges (an absent partner, erratic electricity supplies) to full-blown mental crisis. Limber moves and running on the spot denote the adrenal, obsessive dread and the obstacle course to clear the area in time, what's rehearsal and what's real blurring as she describes reaching safe havens that are themselves blasted. Smartly directed by Oliver Butler, in its localised, confined way, it's engaging and informative. Still, we've had so many reports on death, displacement, food insecurity and warzone horror that the monologue feels like a side-glance at reality in Gaza rather than an urgent dispatch from it. The project has been in development since 2014, which perhaps explains its finesse and its neatness but also its curious sense of abstraction and removal. What are people saying around Mariam, what news coverage does she glean, where is her anger directed? I can't help feeling that the piece would be better suited to the Upstairs space – and conversely, the terrific futuristic drama there (More Life), would fill the main-stage better. Until March 8. Tickets: Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
27-02-2025
- Entertainment
- Telegraph
A Knock on the Roof: This skirts the issue of the war in Gaza
The Royal Court is caught between a rock and a hard place when it comes to Gaza, which has of course dominated the news since the massacre of October 7 2023, with the BBC's recent compromised documentary and a grotesque AI video envisaging a gawdy Trumpian make-over of the Strip the latest rounds in the info war. To avoid the subject looks like a failure to engage with the issues and bear witness to suffering on both sides – but it's such a minefield that it's eminently possible to satisfy no one, add nothing and stir anger. New artistic director David Byrne inherited a financially shaken institution and one reeling from accusations of anti-Semitism, following the outcry over the perceived (if excised) bias in Rare Earth Mettle (2021). His counter-intuitive move was to programme a surprise hit about the furore around Roald Dahl's anti-Israeli/Jewish prejudice, Giant. Still, I can't imagine he'd be rushing to restage Caryl Churchill's controversial short play Seven Jewish Children (2009) – in which Jewish adults reflect on what to tell their children about Israeli actions and forge a shared narrative line. Due caution aside, A Knock on the Roof, written and performed by Khawla Ibraheem – who's based in the Golan Heights – represents an odd half-way house. One can lay aside the demand that the theatre should be fully addressing October 7, and the hostage crisis. Even so, this particular focus on the Palestinian perspective – seen at the Traverse theatre last summer – seems too narrow by half. The title alludes to the IDF practice of firing bomblets on buildings to warn of an impending strike, in theory allowing for evacuation. It's a tactic much used in the current war, but Ibraheem's script dispenses with directly contemporary references; there's no mention of October 7, or Hamas. Markedly depoliticised, the emphasis is on the personal: a young mother called Mariam repeatedly frets about how she will escape her flat, with belongings and six-year-old son, should that 'knock' come. Ibraheem has charm and a stylishly dressed presence that enlists your sympathy in the descriptions of a daily life that morphs from logistical challenges (an absent partner, erratic electricity supplies) to full-blown mental crisis. Limber moves and running on the spot denote the adrenal, obsessive dread and the obstacle course to clear the area in time, what's rehearsal and what's real blurring as she describes reaching safe havens that are themselves blasted. Smartly directed by Oliver Butler, in its localised, confined way, it's engaging and informative. Still, we've had so many reports on death, displacement, food insecurity and warzone horror that the monologue feels like a side-glance at reality in Gaza rather than an urgent dispatch from it. The project has been in development since 2014, which perhaps explains its finesse and its neatness but also its curious sense of abstraction and removal. What are people saying around Mariam, what news coverage does she glean, where is her anger directed? I can't help feeling that the piece would be better suited to the Upstairs space – and conversely, the terrific futuristic drama there (More Life), would fill the main-stage better.
The Guardian
27-02-2025
- Entertainment
- The Guardian
A Knock on the Roof review – slowly searing account of life lived in a state of constant terror
If you had five to 15 minutes to flee your home before a bomb flattened it, what would you take? How would you get your family out of a seventh-floor flat? How fast could you run? These hypothetical questions take on chilling reality for a Palestinian woman living under Israeli occupation in Gaza. Khawla Ibraheem's unnervingly funny (at first) and slowly searing monologue could not be more relevant, although it was first conceived in 2014. That it feels so urgent more than a decade on is all the more tragic. Developed and directed by Oliver Butler, who previously directed Heidi Schreck's Pulitzer prize-nominated What the Constitution Means to Me, this too is delivered as a solo female testimony, whimsical at first, then throttling in its grip. Mariam (Ibraheem) is living with her elderly mother and young son in Gaza when war breaks out. The title is taken from the Israeli military protocol of forewarning civilians, five to 15 minutes before a bomb is dropped on their building, with a knock on their roof. Mariam imagines what this warning will mean: what if her child is asleep? What if her mother is in the shower? The principle of forewarning civilians within this timeframe has been debated in the recent Israel-Hamas conflict. This play shows us, woefully, what it means for Mariam. Mariam begins rehearsing her evacuation drill playfully at first. She is psychologically terrorised by war but this is not apparent: she teases the audience, muses on marriage and motherhood. It is not far off standup but the tone imperceptibly slides into darkness until Miriam is trapped in her rehearsals, setting timers and training for the run of her life with weights representing her son. The drills, increasingly obsessive and interspersed with a fearful waiting, seem Beckettian in their existential terror. Ibraheem, a Syrian actor living under Israeli occupation in the Golan Heights, performs with such control, precision and truth that entire streets come to life. So does Mariam's home, neighbours, and the weight of her son in her arms. In one abject moment, she describes children on the street who are play-acting a funeral procession and it sums up generational trauma in a single image. There is only a chair on stage, as if the play itself can be packed away at short notice, while lighting, designed by Oona Curley, expands to fill the space along with Rami Nakhleh's music and sound design. Like Schreck, Ibraheem focuses on the domestic and intimate but her story draws a much bigger picture of the indignities of occupation (the checkpoints, waiting for electricity, rushing to have a shower) and the terrifying plight of women strategising for the survival of their families in war. If a central purpose of theatre is to play out difficult conversations and breach divides, this devastating show is absolutely essential viewing. At the Royal Court theatre, London, until 8 March
