For nearly three years, the hum of Israeli drones has been a constant presence in Beirut's skies, reshaping daily life and popular culture. Locals have given the drones ironic nicknames such as 'the buzz' and 'Um Kamel', a personification of the acronym MK used for Israeli drones. This linguistic taming turns a threatening surveillance tool into something that can be named and mocked, reflecting how society copes with prolonged auditory violence.
Residents use everyday expressions like 'how nice of you to visit' to greet the drones' return, turning performative humour into a form of adaptation. The constant hum has become a soundscape that reminds people the space above is no longer neutral but integrated into a system of surveillance and threat.
Delivery driver Mahmoud says the drone interference affects his GPS, sending him wrong routes. Pigeon-keeper Ibrahim notes his birds sense drones before humans, changing direction in agitation. Taxi driver Ali turns down the radio to listen for the buzz, explaining 'We will never get used to this sound'.
Artist Karim Massoud describes Beirut as a resilient mother who 'does not pine for a miracle' but readies herself to embrace life again. The drone has entered the cultural fabric, influencing art and collective psychology. These labels are not just rhetorical but indicate how a society negotiates prolonged violence, with humour crystallising into a collective psychological record.
