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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.

The cyber-repression was made easier by the physical structure of Tunisia’s data flow, which runs through just a few choke points. In broad terms, the system has two distinct parts: one for intercepting phone-related traffic and one for the Internet, Saadaoui says.

In each of the three telecom rooms, which are about half the size of a tennis court, a handful of computers known as “boxes” straddle the data pipelines, Chakchouk says. Their function is to siphon off communications, mostly by searching for key words, according to Saadaoui. “You get all the traffic going through these boxes,” Saadaoui says. Once the system flagged a suspect e-mail, a fiber optic network under the streets of Tunis carried it from the telecom offices to the Interior Ministry’s operator room, Saadaoui says. Moez Ben Mahmoud Hassen, a spokesman for Tunisie Telecom, said the company “denies any possible relation with such practices.” He stressed that it follows the law and respects the confidentiality of communications. Asked about the company’s activities during Ben Ali’s government, he said it was a matter for the courts and declined to elaborate. Communications through mobile operator Orascom Telecom Tunisie, also known as Tunisiana, were not monitored, according to a statement released by company spokeswoman Fatma Ben Hadj Ali. The country’s other mobile operator, Orange Tunisia, didn’t respond to requests for comment.

By 2010, it became a contest as Tunisians increasingly employed encryption the packet inspection couldn’t crack. Communications on Facebook boomed, and the regime demanded better tools, Saadaoui says. The same European contractor that provided e-mail surveillance signed a deal to add monitoring of social networks, he says. It was too late. The supplier hadn’t yet delivered the solution when the “Facebook revolution” crested in January. The government’s last-ditch attempts to quell online organizing included hacking and password-stealing attacks by Ben Ali’s regime, outside the purview of the Internet agency, Saadaoui says. Slim Amamou, a blogger who was arrested during the uprising and briefly became a minister for youth and sport after the revolution, says the presidential palace and ruling party orchestrated the final cyber attacks.

Today, Chakchouk, the new head of Tunisia’s Internet authority says he’s working to dismantle Ammar 404, and turned off the mass filtering, he says. Now he’s locked in legal battles over court orders to block specific Web pages. On Saturday, May 7, he and his team pulled an all-nighter to set the filtering equipment to block a single Web page to comply with a military court’s demand related to a defamation complaint. The following Tuesday, still looking tired, Chakchouk says it took so long because they were figuring out how to replace the page with a message explaining the blockage -- rather than the customary Error 404. Since the revolution, Chakchouk has spoken at conferences around the world, decrying censorship. Yet he won’t say much about surveillance. For now, the packet inspection boxes are still on the network. “We tried to understand the equipment and we’re still doing that,” he says. “We’re waiting for the new government to decide what to do with it.”

because of the rising influence of orthodox interpretations of the faith, stambeli artists are careful to stress the monotheistic, Islamic essence of their practice

The origins of stambeli music resemble those of American jazz (even though the two genres don’t sound alike). In both cases, the musical traditions of former slaves combined with the diverse cultural influences of their new environments to create something radically new. Whereas slaves arriving in Louisiana mixed their music and practices with European, Caribbean, and American ingredients, slaves arriving in Tunis during the same period fused their animist practices with North African versions of mystical Sufism and orthodox Islam. Mounir Argui, a theater director and music producer who works with Bidali, says that the metal castanets that play such a prominent role in stambeli performances evoke “the sounds of chains and shackles” that the slaves once wore, while the chanting recalls the “moaning.”

the Tunisian state never prioritized the preservation of stambeli, focusing instead on the art and culture it considered highbrow

Many Tunisians see stambeli as an alien phenomenon associated with blacks, who are already widely viewed as not quite Tunisian. In post-revolutionary Tunisia, where asserting the Islamic character of the country has become an important political symbol for some, the pagan origins of stambeli also cause suspicion

As long as some Tunisians continue to see freedom of religion and freedom of art as mutually exclusive, the rare traditions like stambeli that manage to straddle both will find little space