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Terrorist attacks have occurred in Europe, America, Russia, China, Saudi Arabia, Turkey, and many other places, and no level of surveillance, police presence, border controls, drone strikes, targeted killings, or enhanced interrogation is going to prevent every one of them. Even if we could provide absolutely air-tight protection around one type of target, others targets would remain exposed

the belief that we could eliminate the danger entirely is no more realistic than thinking better health care will grant you eternal life. For this reason, condemning politicians for failing to prevent every single attack is counterproductive — and possibly dangerous — because it encourages leaders to go overboard in the pursuit of perfect security and to waste time and money that could be better spent on other things. Even worse, the fear of being blamed for “not doing enough” will lead some leaders to take steps that make the problem worse — like bombing distant countries — merely to look and sound tough and resolute.

there is no magic key to stopping terrorism because the motivations for it are so varied. Sometimes it stems from anger and opposition to foreign occupation or perceived foreign interference — as with the Tamil Tigers, Irish Republican Army, al Qaeda, Hezbollah, or Hamas. In other cases, it arises from opposition to a corrupt and despised ruling elite. Or it could be both: Osama bin Laden was equally angry at “crusader” nations for interfering in the Muslim world and at the Arab governments he believed were in cahoots with them. In the West, homegrown terrorists such as Anders Breivik or Timothy McVeigh are driven to mass murder by misguided anger at political systems they (falsely) believe are betraying their nation’s core values. Sometimes terrorism arises from perverted religious beliefs; at other times the motivating ideology is wholly secular. Because so many different grievances can lead individuals or groups to employ terrorist methods, there is no single policy response that could make the problem disappear forever.

Scott Atran,  Director of Research in Anthropology at the Centre National de la Recherche Scientifique in Paris and Senior Research Fellow at Oxford University, told Tunisia Live, “The core strategy outlined in the ISIS playbook, The Management of Chaos-Savagery, (Idarat at-Tawahoush),   (required reading for every ISIS political, religious and military leader, or amir), is to fill the void wherever chaos already exists, as in much of the Sahel and Sahara, and create chaos that can be filled as in Europe.”

In achieving this, Daesh must eliminate the “gray zone,” the area of society they regard most Muslim emigrants as inhabiting. The “Brussels attacks represented just the latest, ever more effective, instalment for fomenting chaos in Europe and thereby ‘Extinguish[ing] the Grey Zone,’” Atran said. In a 12-page editorial in the February 2015 edition of Dabiq, Daesh’s online magazine, titled, “The Extinction of the Gray Zone.” specific mention is given to the kind of division that yesterday’s attack was intended to provoke and broaden. “The editorial quotes Osama bin Laden, for whom ISIS is the true heir,” Atran told Tunisia Live. “’The world today is divided. Bush [former US President George W. Bush] spoke the truth when he said, “Either you are with us or you are with the terrorists,”’ with the actual ‘terrorist’ being the Western Crusaders. Now, ‘the time had come for another event to… bring division to the world and destroy the Gray zone.’”

“Motivate the masses to fly to regions that we manage, by eliminating the ‘Gray Zone’ between the true believer and the infidel, which most people, including most Muslims, currently inhabit. Use so-called ‘terror attacks’ to help Muslims realize that non-Muslims hate Islam and want to harm all who practice it, to show that peacefulness gains Muslims nothing but pain.”

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.