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maintenance of the pre-revolutionary media landscape: No new TV station has been allowed. Just as no daily newspaper has emerged. New titles are edited by political parties and appear as weeklies, most of which incorporate the standard of the tabloid press. After a 9-days hunger strike by Radio Kalima’s manager, Omar Mistiri, twelve regional radios out of 74 candidates were finally selected in late June by the National Authority for Information and Communication Reform (INRIC), a temporary media advisory board. Now, the selected radios are waiting for the governmental permission. At the institutional level, the disappearance of the Communication Ministry does not lead, right now, to more media autonomy. Pre-revolutionary media managers are mainly the same: CEOs, Editors and Chairmen of Board moved from flattery of the ousted president and his system to a doubtful celebration of the “revolution”. In the state-owned media, the turnover of managers is conducted without any transparency just like under the dictatorship. Changes look more like a consequence of power balance between the different clans in the current government than a nascent process towards a democratic media system.

field reporting, which was longtime banned from or depreciated in the official media

The legal status of old private media, especially those belonging to the former president family, is still unclear. Some of them are under jurisdictional managers, but INRIC excluded them for the moment from any ethical obligations. Hannibal TV, owned by a relative to Leila Trabelsi, was involved in many ethical infringements to the Ethical Code like slandering or fake news, before and particularly after the revolution. Larbi Nasra, the Hanibal TV owner, seems to play a political role by receiving political leaders and airing many reports about his own charitable actions. Fethi Houidi, Information Minister under Ben Ali, is still Nessma TV’s CEO. Moez Sinaoui, former Nessma PR man, was nominated as the Interim Prime Minister’s spokesman

A survey, publicised at a conference at Tel Aviv University in December, found that while 17 percent of Jewish citizens claimed to understand Arabic, that figure fell to just 1 percent when they were asked to read a book

those with a working knowledge of Arabic were mostly elderly Jewish immigrants born in Arab countries - a generation rapidly dying off

half of Israeli Jews with a western heritage wanted Arabic scrapped as an official language, while the figure rose even higher - to 60 percent - among Jews whose families originated from Arab countries

“I think that the agricultural potential here has exhausted itself,” Weinstein tells Al-Monitor. “Agriculture here is incredible, but there are limits on water and demand, so anyone who wants to continue living here will have to learn to create some other quality industry. I think that tourism here will be fine. I won’t make millions, but if I can support myself at least partially from these bungalows, that would be excellent. I can still do that when I am older.” He says that anyone in the region who is not a farmer still bears a certain stigma, but people are starting to change their attitudes. “We all have some work to do on the way this is perceived. There are farmers who came down to the Arava to get away from people. Now, suddenly they have to play host.”

New facilities that have opened in the region over the past few years include a bee farm, an alligator farm, an antelope farm, and other attractions that combine agriculture with tourism and the untamed wilderness.

''This is the only strip of land left in the country with fresh air and wide-open virgin spaces. And it’s in a part of the country that is not disputed politically and has no demographic issues,”

Members of the collective see themselves as performing an essential storytelling role: providing coverage of police brutality and filling a media "vacuum". "There isn't a free media," founder member Omar Hamilton told me during a visit to the collective's workspace in Cairo. "We have to step in where we can to provide alternative narratives, to provide what we would see as the truth that's not being presented."

"There's nothing you can really do about it except run at the right time. Which is just after everyone else but not before it's too late,"

we needed a space to work out of and to host a library of revolutionary material and to archive everything we can, including mobile phone footage and news-quality material

Rajab, a former journalist, was appointed last month to lead the new Ministry of Information Affairs. The government department was created to help implement the media reforms suggested by the Bahrain Independent Commission (BIC)

the report noted the role government-allied outlets played in contributing to tensions. The commission found that much of the coverage in February and March from television, radio and print media “contained derogatory language and inflammatory coverage of events.” The Bahrain government controls all of the radio and television stations in Bahrain. Moreover, six of the seven newspapers in the country take pro-government positions. The BIC also reported that journalists working for news outlets said they were coerced into covering events from a pro-government perspective instead of objective reporting.

The commission’s recommendations included suggestions that the state television and radio become more neutral and provide access to citizens with a variety of opinions. The report also recommends the relaxation of censorship in all the country’s media. Not giving opposition groups enough space to speak openly further polarises the atmosphere

About half the political prisoners he met in jail told him police had tracked their communications and movements through their cell phones

Stockholm-based Ericsson AB, Creativity Software Ltd. of the U.K. and Dublin-based AdaptiveMobile Security Ltd. marketed or provided gear over the past two years that Iran’s law enforcement or state security agencies would have access to, according to more than 100 documents and interviews with more than two dozen technicians and managers who worked on the systems.

When Iranian security officers needed to locate a target one night in late 2009, one former Ericsson employee says he got an emergency call to come into the office to fix a glitch in an Ericsson positioning center.

Over the 30 years leading up to the 2011 popular uprising, state media took its cue from Hosni Mubarak's gatekeeper, the diminutive but terrifying Safwat el-Sherif, former minister of information. Post January 25, state media and papers backed the Supreme Council of Armed Forces (SCAF), the country's ruling military council. Last week, in a nod to the democratic process, it was the turn of the Muslim Brotherhood (MB). Egypt's upper house of parliament, the Shura Council, announced the appointments of the new editors, setting off a storm of angry protest among journalists, led by the Journalists' Syndicate, who insisted that the Islamist-dominated council had essentially rigged the selection process and assigned their own men to do its bidding.

Gamal Fahmy, secretary general of the Journalists' Syndicate, also told Egypt Independent that he thought the majority of the new editors were weak, professionally speaking, and certainly not qualified to lead the kind of large staffs involved in these papers. Professional competence is an especially sore point; Yasser Rizk, the former editor of Al-Akhbar is generally acknowledged to have worked wonders with the ailing publication. However, he has not been supportive of the Islamists and was replaced during the shuffle.

The appointments were followed by a rash of blank editorial pages in national newspapers, a favored means of protest. One of the most prominent protesters was Gamal Fahmy, whose column in in Al-Tahrir newspaper simply read: "This space is blank to protest the hereditary system that did not fall with the ousting of Mubarak and his son. It seems that the Muslim Brotherhood is trying to revive it after it was blinded by arrogance. This protest is against their control of the public owned media."

In the absence of protest workshops and ‘how-to’ manuals, video footage captured on mobile phones in Kiev (and elsewhere) and uploaded to social media sites now serves as a repository for protest tactics, to be studied and adapted by anti-coup protesters thousands of miles away in Cairo. These instances of unsentimental appropriation mark an interesting departure from previous patterns of resource sharing and border-crossing diffusion of protest tactics, patterns which saw Egyptian activists cultivate a series of formative linkages with pro-democracy movements such as Serbia’s Otpor movement in the years before the Jan. 25 revolution.

We have teams of people who go on YouTube and search for videos of other protests around the world and when they come across a new tactic, they post it on the Facebook page. If we find a good tutorial video, we translate it into Arabic

The co-ordination of protests themselves, however, is increasingly occurring offline: Egyptian state security has grown so adept at infiltrating online groups, that mosques and university campuses are now the two most important associational spaces in which to organize. In many neighborhoods, certain mosques have a reputation for playing host to rallies that are launched after prayer. Here, would-be protesters do not need access to formal protest networks to participate; they simply need to turn up. These are often the same mosques from where protests were launched during the Jan. 25 revolution. If the protests begin elsewhere, the relevant times and locations are distributed to a trusted list of regular protest-goers who then relay the information to friends and relatives

I want to suggest that both of those terms, “media,” and “new,” while perhaps descriptive in some respects, ultimately conceal more than they reveal. Thus their continued use prevents us from focusing on how this change from analog to digital is more than just a media shift.

Many media scholars—and, I would suggest, many media studies programs—approach the study of digital network communication by relying on platforms used to analyze analog broadcast media. The assumption is that all one needs to do to critique “new media” is to utilize tools developed for the analysis of radio, television, and film, and update them for the 21st century. This is what I would refer to as the digital facelift model of scholarship: prior media analysis can be updated for the digital revolution

we are talking about a rather significant shift in the substructure and organization of knowledge

EGYPT Mubarak Leave At Last MUBARAK Worst Speech Ever OBAMA Still Trying for Egyptian Change

The greatest structural change of the last two months is not the fall of Mubarak but  the region-wide empowerment of Arab pu

All of this is playing out in a unified political space, shaped primarily by al-Jazeera and social media and by the demand by Arabs of all stripes to now be heard and felt. 

the man who’d been the first democratically elected president in the country’s history was confined in a soundproof glass booth, and authorities made major efforts to ensure that whatever he said during his brief appearance went largely unheard.State television offered no live broadcast, instead providing a heavily edited 30-minute video of the session that fast-forwarded through most of Morsi’s appearances

another indication that Egypt’s current government, installed by the military after it toppled Morsi last July, intends to keep trying to make sure that no space is provided for Morsi or his supporters from the Muslim Brotherhood to press their cases with the Egyptian people, amid signs that the military plans to maintain its influence

There were no Morsi supporters in the court, and many journalists who’d applied to cover the trial were denied access.

A friend of Mohamed’s, an unemployed telecommunications engineer named Nabil Selliti, left Douar Hicher to fight in Syria. Oussama Romdhani, who edits the Arab Weekly in Tunis, told me that in the Arab world the most likely radicals are people in technical or scientific fields who lack the kind of humanities education that fosters critical thought. Before Selliti left, Mohamed asked him why he was going off to fight. Selliti replied, “I can’t build anything in this country. But the Islamic State gives us the chance to create, to build bombs, to use technology.” In July, 2013, Selliti blew himself up in a suicide bombing in Iraq.

Tourism, one of Tunisia’s major industries, dropped by nearly fifty per cent after June 26th last year, when, on a beach near the resort town of Sousse, a twenty-three-year-old student and break-dancing enthusiast pulled an automatic weapon out of his umbrella and began shooting foreigners; he spared Tunisian workers, who tried to stop him. The terrorist, who had trained at an Islamic State camp in Libya, killed thirty-eight people, thirty of them British tourists, before being shot dead by police.

“The youth are lost,” Kamal told me. “There’s no justice.” Douar Hicher, he said, “is the key to Tunisia.” He continued, “If you want to stop terrorism, then bring good schools, bring transportation—because the roads are terrible—and bring jobs for young people, so that Douar Hicher becomes like the parts of Tunisia where you Westerners come to have fun.”

Beirut’s drag-queen scene

The Middle East is known for its conservatism, but with its febrile nightlife and more liberal mores, Beirut has long been hailed as a relative haven for the region’s LGBTQ community, though not without challenges.

Performers usually turn up in their street clothes, transform into a whole new character, then shed their costumes again before slipping back outside. Anissa, though, will be making an entrance tonight. A car to the venue has been organized, and she wants to enjoy the reactions of her fellow passengers. 

they had shared and could recite the viral Facebook memes constructing an alternate reality of nefarious Muslim plots. Mr. Lal called them “the embers beneath the ashes” of Sinhalese anger

the forces of social disruption that have followed Facebook’s rapid expansion in the developing world, whose markets represent the company’s financial future. For months, we had been tracking riots and lynchings around the world linked to misinformation and hate speech on Facebook, which pushes whatever content keeps users on the site longest — a potentially damaging practice in countries with weak institutions.

Time and again, communal hatreds overrun the newsfeed — the primary portal for news and information for many users — unchecked as local media are displaced by Facebook and governments find themselves with little leverage over the company. Some users, energized by hate speech and misinformation, plot real-world attacks.

Bidali is one of the last living practitioners of stambeli, a uniquely Tunisian hybrid of musical genre, healing practice, and religious ceremony. It’s deeply rooted in the history of a specific community: the descendants of slaves brought to the region from sub-Saharan Africa during the eighteenth and nineteenth centuries. It also has close links to Sufism, an ancient form of Islamic mysticism that uses music, dance, and rhythm to induce trance-like states that are supposed to bring listeners closer to the essence of the divine

President Habib Bourguiba, Tunisia’s first postcolonial leader, gave state support to many forms of art, but stambeli wasn’t among them; it didn’t fit the modern image of the country he was trying to shape

while subsequent police crackdowns have landed Salafists of all stripes in jail, some of the trends they promoted, such as moral self-policing and austere interpretations of Islamic cultural heritage, have taken root in society. With its unorthodox religious associations, stambeli has found itself in the firing line

nothing seems to disturb Egypt’s ruling cadres more than the written word. The recent litany of bans and shutdowns, including blocking hundreds of web pages online, illustrates what Cambridge University’s Khaled Fahmy, a prolific historian of the Middle East, called “an alarmist moment of crisis,” one in which Egypt’s authoritarian state of emergency laws have turned something as simple as reading into a dangerous act. “Free press and freedom of information … are essential ingredients of any democratic system. The regime and many segments of society do not see it this way—they see the exact opposite. They see at times of crises we have to have absolute unity,”

sentenced to five years in jail under a counter-terrorism law for possessing a copy of Karl Marx’s Value, Price and Profit

Sisi prefers conservative Islamists who he can control over secular dissidents—chiefly writers—who threaten his rule.

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.