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it was not the opposition of "fundamentalists" that kept rai music (not just Khaled's) off of Algerian state radio. It was rather the Algerian (secular) regime's cultural policies. The state promoted classical Arabic culture and language and denied Algeria's multi-cultural nature. Expressive culture in Arabic dialect or Berber was therefore mostly excluded from the state-controlled media. Rai is sung in the distinctive colloquial Arabic of Wahran, which is not only very different from "classical" or literary Arabic but is also full of borrowings from Spanish, French and Berber. This official national-cultural politics, which was particularly severe during the regime of Houari Boumediene (1965-1978), began to loosen during Chadly Benjadid's regime (1979-1992). In his 1998 autobiography, "Derrière la sourire," Khaled recounts how he managed to break the official embargo in the early 1980s. He was invited to appear on a television show in Algiers, which he knew couldn't be censored because it was to be broadcast live. Khaled was warned ahead of time: no vulgarities, no sex. So he sang three songs: the first, about the Prophet Muhammad; the second, a "poetic" song, one that was artistically acceptable; and the third, about alcohol and women.

Khaled, and other rai stars, came to play at this festival due to the efforts of the "liberal" wing of the Algerian regime -- and particularly to Lieutenant-Colonel Hosni Snoussi, director of the state-supported arts and culture organization, Office Riadh el Feth in Algiers, who had taken Cheb Khaled under his wing. The regime's liberal wing became interested in promoting rai in the wake of a spate of unrest that erupted during the early 1980s. Most notably, the 1980 riots in Tizi Ouzou, Kabylia (the "Berber Spring"); the 1985 riots in Algiers, which broke out following rumors that housing being built for the poor would be allocated to state bureaucrats; and the 1986 student riots in Constantine that resulted in the deaths of four protesters and spread to other cities. Young Algerians played a leading role in all these protests. The liberal wing of the regime determined that, to deter further unrest, the state should focus on promoting the interests of youth and on developing the market economy. Rai was very popular with Algerian youth, and so the "liberals" determined that promoting it was to be an important element of these reform efforts. It was changes in state policy toward rai, pushed by Snoussi, that got Khaled and other rai stars onto the stage in Algiers in 1985.

The French government had a stake in trying to control and channel the energies of the rai scene.

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.

What do criminals, corrupt corporations and crooked politicians have in common? They all fear investigative journalists, whose job is to expose wrongdoing and hypocrisy by holding the powerful to account.

For their work, investigative reporters have come under threat from multiple sources with the shared aim of stopping information that’s in the public interest from coming to light. Index on Censorship’s Mapping Media Freedom project, which monitors violations against media professionals throughout Europe, recorded 206 cases of investigative journalists in the 35 countries that are in or affiliated with the European Union (EU35) being targeted in their line of work between 1 May 2014 and 31 December 2018. An additional 77 reports from EU35 showed media workers other than investigative journalists being targeted for their role in reporting on corruption.

The country with the largest share of reports was Italy (40), followed by Hungary (25), Serbia (24), France (19) and Turkey (18).

Police believe they had been in contact over the internet with people linked to al-Qaeda in the Islamic Maghreb, and had been planning attacks in France.

the researcher, whom it did not identify, was working for an outside institute and had no contact with anything that could have been used for terrorism.

Architecture has been part of that work. The unspoken assumption was that houses should fit together along alleys and streets, that no private house should be so ostentatious as to stand higher than the mosque or the church, and that the city should be a compact and unified place, built with local materials according to a shared vocabulary of forms. Thick walls of stone created interiors that would be cool in summer and warm in winter with the minimum use of energy. The souk was conceived as a public place, embellished appropriately so as to represent the heart of the city, the place where the free trade of goods expressed the free mingling of the communities.

The old souk of Aleppo, tragically destroyed in the current Syrian conflict, was a perfect example of this, the delicate and life-affirming center of a city that has been in continuous habitation for a longer time than any other. That city rose to eminence as the final station on the Silk Road, the place where treasures were unloaded from the backs of camels coming from Mesopotamia onto the carts that would take them to the Mediterranean ports. The fate of this city, which has, in the 21st century, faced destruction for the first time in 5,000 years, is a fitting emblem of what is happening to the Middle East today.

it is not only civil conflict that has threatened the ancient cities of the Middle East. Long before the current crisis there arrived new ways of building, which showed scant respect for the old experience of settlement and disregarded the unwritten law of the Arab city that no building should reach higher than the mosque, it being the first need of the visitor to spy out the minaret, and so to find the place of prayer. These new ways of building came, like so much else, from the West, first through colonial administration and then through foreign “advisors,” often taking advantage of the insecure land-law of the region, introduced by the Ottoman land code of 1858. By the time France had been granted the mandate to govern Syria in 1923, modernist building types, the mania for roads and motorized “circulation,” the idea that cities should be disaggregated into “zones”—residential, commercial, industrial, and so on—and the obsession with hygiene had all made their destructive mark on the urban fabric

Last year, wondering what it means to be a Syrian artist when Syria in many ways no longer exists, I began to map the journeys of a hundred artists from the country. As I discovered, a large portion of the older guard of artists has ended up in Paris, thanks to visas issued by the French Embassy in Beirut. Many of the younger generation headed for the creative haven of Berlin, where rent is relatively cheap. Only a scant few remained in the Middle East, which proved expensive or unwelcoming.

A few artists remain loyal to the Assad regime, which has long seen itself as a great patron of the arts. Some of the artists who were still in Syria asked not to be mapped, even anonymously, for fear that the regime would perceive them as disloyal and punish their families. A few took issue with the label “Syrian artist” altogether. “I don’t want to become part of the Syrian-refugee industry,” Sulafa Hijazi, a visual artist now living in Berlin, told me

the Syria Cultural Index, “an alternative map connecting the Syrian artistic community around the globe and showcasing their work to the world.”

The End (El-Nehaya), the Egyptian dystopian science fiction thriller series, has captured the imagination of audiences throughout the Arab world this Ramadan TV season. It is ranked the third most popular series this season, and has generated a lot of discussion in social media about its futuristic technology and debt to Hollywood science fiction and dystopian films.The End was also lumped into the debate over normalisation in this year’s Ramadanic TV programming and was attacked by the Israeli Foreign Ministry for its anti-normalisation stance. The End is premised on the fictional idea that the Arab world would become a superpower and that Israel would be destroyed less than a century into its establishment — that is, in less than thirty years. In its place, Al-Quds conglomerate will be created and will be under total Arab control.

Some contrasted the daring futuristic scenario with the utter impotence of the Arab world today, to offer any viable solution to the Palestinian struggle for freedom and the ongoing Nakba. Others thought it was enough that the series managed to provoke and infuriate Israel.

The series does not only substitute one form of domination in Al-Quds conglomerate for another. More importantly, the Palestinians are completely erased from Al-Quds conglomerate itself.

The arrest of an operator of a popular Telegram channel on Oct. 14 shocked many Iranian dissidents abroad. Rohollah Zam, the administrator of Amad News, was residing in France as a political refugee when the Islamic Revolutionary Guard Corps Intelligence Organization announced his arrest and shortly thereafter aired a video confession. Many dissidents and observers abroad wondered how someone could be apprehended by the IRGC in the relative safety of Europe. According to BBC Persian, Zam was arrested in Iraq and handed over to Iranian authorities. Zam reportedly flew to Iraq on Oct. 12, according to BBC Persian. One day after his arrival his wife, Mahsa Razani, lost contact with him. It is not yet clear what Zam was doing in Iraq or why he thought he would be safe in a country that has an extradition agreement with Iran.

In the video, Zam looks into the camera and says that he “regrets” his activities of the last few years. He added “it was a mistake to trust the French government,” adding, “In general trusting governments is not wise, especially those who show they have a bad relationship with the Islamic Republic, such as the United States, Israel, Saudi Arabia and Turkey.” Zam added that he would need to “apologize to the system as a whole” for his actions.

Zam is the son of Mohammad Ali Zam, an influential cleric who has held important media positions within various institutions in the Islamic Republic. Mohammad Ali told the Iranian press that he had no knowledge of his son’s arrest until he saw it on the news.

The Moroccan government said it was withdrawing accreditation from an Agence France-Presse (AFP) correspondent who wrote an article casting doubt on the monarchy's neutrality in an election.

The Peace Index for March 2016, published by the Israel Democracy Institute, shows that a sizable majority of the Jewish public rejects the distinction between global terrorism, nurtured by radical Islam, and Palestinian terrorism, nurtured by the desire to shake off the Israeli occupation. Of those polled, 64% said they agree with the idea espoused by Prime Minister Benjamin Netanyahu that global terrorism and Palestinian terrorism are one and the same.

Israelis are in no rush to change the status quo

Some 78% think Israel should not take into consideration international demands to refrain from “targeted killings” (as the Israel Defense Forces calls the killing of wanted Palestinians), demolitions of family homes of Palestinians involved in attacks on Israelis and other questionable means used by the Israeli defense establishment in the fight against terrorism.