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Journalists have rarely done justice to indigenous communities because the language of journalism has rarely done justice to indigenous peoples.

Indigenous people know that their representation has failed before they've even begun speaking, because the medium through which they are represented - a hard, sharp language rooted in ideas rather than feeling - has rarely granted them territory.

The language that media uses today does not heed silence and self-interpretation. It does not respect the power of conjured stories. It does not favour the collective over the individual. And this does not fit with indigenous perspectives.

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.

many Americans’ memories of Rabin have long been colored by a relentless media narrative that deprived them of critical perspectives on his life and legacy. In fact, looking back at the Oslo years, the voices of Palestinians — the victims of Rabin’s decades-long career — rarely made it into the pages of influential U.S. publications. Had they been featured, many Americans may have had a more informed opinion about why Palestinians would oppose honoring Rabin.

I focused on opinion pieces for two reasons. First, scholarly analysis of major U.S. outlets has already demonstrated that their news coverage is heavily shaped by pro-Israel biases. Second, opinion pieces are playing a stronger role than ever in shaping our understanding of the news. As one newspaper editor explained, “In a 24/7 news environment, many readers already know what happened; opinion pieces help them decide how to think about it.”

I had expected to find relatively few opinion pieces by Palestinians, and I was correct. But what surprised me was how much Palestinians have been talked about in major U.S. media outlets over the decades. Editorial boards and columnists seem to have been quite consumed with talking about the Palestinians, often in condescending and even racist ways — yet they somehow did not feel the need to hear much from Palestinians themselves.

Glasgow’s Dr Campbell Price is British TV’s go-to guy when it comes to ancient Egypt. But the study is riddled with racism and he wants to drag the world of mummies into the 21st century … and he doesn’t care if you call him ‘woke’.

Price is at the forefront of the fight to ‘decolonise’ the study of Ancient Egypt and drag it into the 21st century. He wants the discipline to confront its history of racism and empire, and he’s not shy about apportioning a fair amount of blame on Scotland and its own role in Britain’s colonial adventures.

the study of Ancient Egypt was founded by colonialists from Britain and France in the early 1800s and it still hasn’t shaken off the baggage of the past. There’s a lingering sense that Egyptians are considered unable or incapable of studying their own history without the assistance of white, western academics who are really the people best suited to the discipline. The whiff of racism and a “white saviour narrative” still hangs in the air, he feels.

Wrongful arrests, an expanding surveillance dragnet, defamation and deep-fake pornography are all actually existing dangers of so-called “artificial intelligence” tools currently on the market. That, and not the imagined potential to wipe out humanity, is the real threat from artificial intelligence.

Beneath the hype from many AI firms, their technology already enables routine discrimination in housing, criminal justice and health care, as well as the spread of hate speech and misinformation in non-English languages. Already, algorithmic management programs subject workers to run-of-the-mill wage theft, and these programs are becoming more prevalent.

Corporate AI labs justify this posturing with pseudoscientific research reports that misdirect regulatory attention to such imaginary scenarios using fear-mongering terminology, such as “existential risk.”

Rather than simply serving as crude propaganda for Erdoğan’s regime, Contemporary Turkish and World History aspires to do something more ambitious: embed Turkey’s dominant ideology in a whole new nationalist narrative. Taken in its entirety, the book synthesizes diverse strands of Turkish anti-imperialism to offer an all-too-coherent, which is not to say accurate, account of the last hundred years. It celebrates Atatürk and Erdoğan, a century apart, for their struggles against Western hegemony. It praises Cemal Gürsel and Necmettin Erbakan, on abutting pages, for their efforts to promote Turkish industrial independence. And it explains what the works of both John Steinbeck [Con Şıtaynbek] and 50 Cent [Fifti Sent] have to say about the shortcomings of American society.

Turkey has long had competing strains of anti-Western, anti-Imperialist and anti-American thought. In the foreign policy realm, Erdogan’s embrace of the Mavi Vatan doctrine showed how his right-wing religious nationalism could make common cause with the left-wing Ulusalcı variety.[5] This book represents a similar alliance in the historiographic realm, demonstrating how the 20th century can be rewritten as a consistent quest for a fully independent Turkey.

Ankara is currently being praised for sending indigenously developed drones to Ukraine and simultaneously criticized for holding up Sweden and Finland’s NATO membership. Contemporary Turkish and World History sheds light on the intellectual origins of both these policies