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in Latin America, one of the ways Gulf states’ rising profiles have been most evident is their forays into the soft power of soccer. Gulf countries are not among the top trading partners of Latin America’s largest economies, but sports fans know that both Messi and Brazilian star Neymar play for a club team that is owned by a subsidiary of Qatar’s sovereign wealth fund, Paris Saint-Germain.

Latin American audiences are intimately familiar with the use of the World Cup for political aims, such as when Argentina sought international legitimacy for its bloody dictatorship when it hosted the tournament in 1978. Like the European and U.S. press, the show has discussed the human rights and labor rights complaints surrounding the Qatari-hosted event. Still, Wall told Foreign Policy that, overall, “in South America, perhaps we see [the World Cup] with different eyes.” Latin American coverage of the event has focused more on how soccer culture in both Latin America and the Middle East developed in the context of colonization. It’s been striking to encounter so many Brazil and Argentina fans from the Middle East and Asia at the World Cup, Wall added. “There is something that we see in each other.”

It has also prompted some to wonder if Latin American countries could better capitalize on their own soccer power. “The value of Argentine soft power” remains “much more potential than real,” former Argentine foreign ministry official Tomás Kroyer told Forbes Argentina this week. In Brazil, the Workers’ Party governments of 2003 to 2016 designed several policies to use the appeal of Brazilian soccer as a diplomatic tool, even taking the national team to play in Haiti to herald the arrival of Brazilian peacekeepers in 2004, Veiga de Almeida University international relations professor Tanguy Baghdadi told Foreign Policy in an interview.

journalists under-report incidents they consider minor, commonplace or part of the job, or where they fear reprisals.

most corruption reporting did not take place in the mainstream media, except in France, Germany and Scandinavia, where journalism had a better standing. Independent and non-profit media outlets were among the most vulnerable to financial pressures and the target of frequent threats, whether in terms of staff safety or lawsuits

Media concentration has become a growing issue for journalists across EU35, notably in Hungary.

The assassination of independent Maltese investigative journalist Daphne Caruana Galizia in a car bomb on 16 October 2017 marked a dark new trend emerging in the EU35: the murder of three investigative journalists in less than 12 months. Caruana Galizia’s death was followed by the murder of Slovakian journalist Ján Kuciak and his partner Martina Kušnírová on 26 February 2018, and the rape and murder of Bulgarian journalist Viktoria Marinova on 6 October 2018. Authorities say Marinova’s death is not connected to her being a journalist, a claim some colleagues have disputed.

“The Council of Europe study on self-censorship among journalists has shown that the main form of pressure is ‘psychological violence’, which is mainly visible by intimidation used by public authorities which has a clear chilling effects on media freedom. We are convinced that many investigative journalists are the target of this type of bullying,”

For journalists reporting on corruption, the threat of legal action is a very serious one, which impacts what one is able to write, particularly for investigative centres with limited resources

Official willingness to discredit and defame journalists is a Europe-wide phenomenon, but one that is especially acute for independent media outlets that specialise in investigative journalism into official corruption.

In 2018 some 4.5 million Germans visited Turkey, making it the second largest group of tourists after Russians.

With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia

For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris

in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”

Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”

Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”

The best rap and metal in the region succeeds because it manages to avoid both the kind of “extreme consciousness of doom” that leads to aesthetic nihilism, hyper-stylized violence and other forms of artistic “idle chatter,” while also avoiding the kind of surrender to the culture industry which leads even the most well-intentioned of mainstream artists to “collaborate with culture as its salaried and honoured nuisance” rather than challenge it directly from the margins.

the ultimate function of immanent criticism: to enable a positive synthesis, or irreducible hybridization of identities. Such identities can not be subsumed under any dominant ideology or political and economic narrative and therefore cannot serve to reinforce them

in the Middle East and North Africa region, in the years leading up to the current revolutionary moment, the growing popularity of metal and rap music represents a return of the aura to local music scenes. Both Benjamin and Adorno believed that a remnant, or perhaps better, specter of the original aura remained within works of art even in the mechanical/industrial age. This spector becomes visible in the kind of critical art represented by the groups discussed here, contributing to the continued “excessiveness”, “aesthetic deviance”, and “pointing elsewhere” towards cultural difference and a different future that characterize the best exemplars of the music

As Moe Hamzeh, leader of one of the most talented and successful Arab rock/metal groups, Beriut's The Kordz6, explains, while Arab rock or rap artists obviously want to be successful, the relative lack of interest in the two genres by Rotana and other Arab media conglomerates has been a blessing from an aesthetic perspective. It has saved them from the inevitable fate of all commercialized popular music, whether American hiphop and hair metal to Arab video-clip driven pop. At the same time, the lack of commercialization has made the public performance of the music, usually in small group settings or festivals geared specifically to fans of the genres, the crucial means of creating audiences and building solidarity among their communities of fans.

singers and rappers were actually smiling as they performed their music. And so were the crowds surrounding them. This is likely not the vibe Adorno imagined would surround the kind of immanently critical music he felt was necessary to wake people up to the false consciousness they had been mindlessly inhabiting. But it points to a crucial problem with Adorno’s musical aesthetic, at least form the standpoint of reception. The more abstract, atonal, and devoid of recognizable harmonies or rhythmic pulse a piece of music is, the harder it will be for it to inspire a large number of people. Once people are actually on the streets protesting rather than in their smaller subcultural gatherings, they need something catchier and more uplifting to sing along to than brutal vocals and rapid fire rhymes

Adorno did not think much of the aesthetic and political potential of folk music, which he tied both to nationalist and fascist sentiments. In its then present-day form (rather than traditional-historical form), he believed it to foster little more than a “pseudo-folk community,” particularly in its cultural and aesthetic historical trajectory in Germany. But in Egypt as in the United States, the music has played a more critical political role in struggles for political freedom and social justice.

the band’s popularity is inseparable from its dual role as a voice of protest and a regenerator of traditional styles of music that recently were in danger of disappearing completely because of a combination of market forces and government censorship

What the kind of joyful hybridity exemplified by the production style of Armada Bizerta and myriad other rap groups around the Arab and larger Muslim worlds (and across Africa) reveal is that even within one genre of music, such as hip hop, talented artists can create innumerable sonic tapestries to match, and help shape, the national mood—from dissonant anger to joyful creativity—as the political and cultural situation on the ground changes. Their flexibility is key to their function as the kind immanent critique Adorno and other critical theorists hoped would be able to “reliquify” the “congealed” ideologically bounded identities imposed by authoritarian regimes on their citizens

The joyful aesthetics of groups such as Amarda Bizerta, Emel Mathlouthi, Ramy Essam, and other artists at the heart of youth-inspired revolutions challenges Adorno’s belief that critical music in the age of mass reproduction and consumption has to be, essentially, hard to listen to in order to make the listener think and perhaps even motivated to take some form of action. It seems that while in the pre-Revolutionary period, when cultural expression was still heavily policed, this indeed was the case—thus the power and popularity of genres like metal and hardcore rap. But with the explosion of political, cultural, and artistic energy of the protests a new aesthetic dynamic was born that, at least as of the time of this writing, remains quite powerful. As important, by drawing people literally closer together, the music brings them closer to its critical and transformational aura, closing a circle that was broken, according to Benjamin, with the mechanical reproduction and commodification of musi a century ago

It remains to be seen whether Americans and Europeans, so used to providing the “original” music and culture which others have long sampled, will prove as adept as the “new generation” of Arab revolutionaries in adapting the tools and ideas of others to create their own cultural, political, and economic hybrids. But if the experience of the last year is any indication, without doing so there is little chance of the current wave of protests across the West producing the kind of large-scale transformation now underway, however problematically, in the Arab world.

When they discuss US policy options for Syria, administration officials repeatedly point to the fact that Americans have bigger concerns closer to home and that President Barack Obama is very mindful that the public has no appetite for interventions abroad, no matter how limited

The question is whether it would become more tenable for the president to take action if the public demanded it. Possibly, but that's not how public opinion works. People demonstrate to end wars and bring the troops home, like with Vietnam. They protest against invasions, like Iraq in 2003, when their country's troops are about to be shipped overseas. Or they support military action when their own country has come under attack. But people rarely rise up to demand action because of a sense of collective justice.

Eventually, clients will also be able to choose the length of the paper delivered - for example, eight pages on a busy Monday but 60 pages on a Friday when there is more time to read. Initially, the paper will be 16 pages.