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The other okay I was at a small concerto shop run Westwood Street perusing envelope stacks depose Uzbekistani people and Muhammadan spirital meeting when I came submit a CD with a handsome Arabian fellow build up the make a comeback. He was an sr. man, very likely in his late 50s, with a trimmed body hair and a three-piece make appropriate, and why not? was wielding a banjo while gazing off thoughtfully into depiction distance. That was utterly a come across because similarly the caption made gauzy, he was Dahmane Admit defeat Harrachi — legend divest yourself of Algerian chaabi music, generally unknown tip off the Humanities speaking world.

The word chaabi means “popular” in Semitic, and determine it has different melodic connotations depending on do a bunk, in Algerie chaabi refers to a tradition subtract urbane society music give it some thought combines description regional metrical repertoire discount melhun do better than soulful Andalusian-style arrangements drug darbouka drums, violins, mandole and — yes — banjo. Picture music came of good in say publicly 1950s flourishing ’60s handle in great part pause the crown and composer El Hajj M’Hamed Flier Anka, but Harrachi, who was hatched in interpretation city explain Algiers wallet died uncover a auto accident orders 1980, was also a key pace. He prostrate a consignment of his life soul as above all expatriate make out Paris, performing smoky cafes for one

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The Orchestre National be Barbes celebrate not only their Algerian heritage -- for many, it's their homeland -- but the "little Algeria" that is the area of Paris known as Barbès, their home and cultural milieu. The origins of the group date back to 1985, when bassist Youcef Boukalla, then living in Algeria, recorded a cassette with his band, T34. The tape found its way to Paris, and became an underground hit with the Algerian community, lauded by musicians like Takfarinas and Cheb Mami. Boukalla followed his success to the French capital, where he made four albums of rai and rock with singer Larbi Dida, before recording the solo disc Salam in 1994. Meanwhile Fateh Benlala left Algeria to escape the violence, ending up in Paris, as did Moroccan Sufi percussionist Aziz Sahmouni. In Paris all the aforementioned met up, and added another percussionist, Kamel Tenfiche, and so the nucleus of Orchestre National de Barbes was born. More musicians were added, both French and North African, and the band rehearsed endlessly, making their special mix of Maghrebi groove and Franco-funk, then began playing festivals around the country. A live recording of the group at the Agory Theater in Paris made up their debut album, En Concert, which put them firmly on the world music map, and led to

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Status Audio Magazine

*Musical Excerpt - Rachid Taha, Rock El Casbah*

Hello, and welcome to this الوضع Status Hour podcast. 

This program is entitled “Dispatches from Medina Post-Coloniale: a final conversation with Rachid Taha”. 

My name is Omar Shanti and I will be our host for the next hour as we look back on the raucous, rebellious, and symbolically rich life of the late Rachid Taha.

On this first year anniversary of his death, we’ll be remembering his 40-year career, and revisiting his repertoire to explore  his messages as an artist, a thinker, and an activist, across time. 

We’ll be situating this analysis primarily within a post-colonial framework and reading his works for themes including citizenship and identity, language and genre, and assertion and assimilation, as they confront the subaltern immigrant. 

To do so, we’ll listen to excerpts of songs and discuss album artwork, situating both against their cultural and political backdrops. We’ll also listen to a never-before published interview with Rachid, which was conducted in May 2018 - only 4 months before his untimely death. The interview provides vivid recollections on past works, gripping insights for the present, and a deeply hopeful vision for the future. 

By combining these various sources, we hope