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“Dehumanizing and demonizing characterizations of the other were very rare in both Israeli and Palestinian books.” The research team found 20 extreme negative depictions in the Israeli state books, seven in the ultra-Orthodox books, and six in the Palestinian books. An example of this rare occurrence from an Israeli book: A passage saying that a ruined Arab village “had always been a nest of murderers.” And an example from a Palestinian book: “I was in ‘the slaughterhouse’ for 13 days,” referring to an Israeli interrogation center. This could be a lot worse, right?

84 percent of the literature pieces in the Palestinian books portray Israelis and Jews negatively, 73 percent of the pieces in the ultra-Orthodox books portray Palestinians and Arabs negatively, and only 49 percent of the pieces in Israeli state schools do the same. In an Israeli state school text, a passage reads: “The Arab countries have accumulated weapons and ammunition and strengthened their armies to wage a total war against Israel.” In the ultra-Orthodox, it ratchets up: “Like a little lamb in a sea of 70 wolves is Israel among the Arab states.” In the Palestinian case: “The enemy turned to the deserted houses, looting and carrying off all they could from the village that had become grave upon grave.” These statements aren’t necessarily false, but they are just one-sided and fearful—and they are rarely balanced by anything sunnier

The research team found that 58 percent of Palestinian textbooks published after 1967 (the year in which Israel took control of the West Bank and East Jerusalem from Jordan, Gaza and Sinai from Egypt, and the Golan Heights from Syria) made no reference to Israel. Instead, they referred to the entire area between the Jordan River and the Mediterranean Sea as Palestine. In the Israeli state system, 65 percent of maps had no borders and made no mention of Palestine or the Palestinian Authority, while in the ultra-Orthodox system that number was a staggering 95 percent.

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.