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Just as there are moments when we, quite naturally, experience déjà vu, the world, too, seems to fall into its own peculiar cycles of repetition. At times, it’s hard to tell whether these echoes are deliberately constructed or simply the result of our tendency to see the past reflected back at us, the same way we revisit our own histories to make sense of recurring patterns in human behavior.

Today, a growing number of voices point to a kind of 1970s déjà vu, driven in part by the energy crisis and, just as notably, by a renewed appetite for escapism. It was a period marked by striking contradictions, with scarcity fueling spectacle, anxiety giving rise to escape, and a shared sense of unraveling sparking some of the boldest forms of self-expression in modern memory.

In this edition, we turn to those very contradictions, exploring how culture becomes both refuge and rebellion, a counterpoint to the monotony of everyday routines, and to the compulsion of making to-do lists simply for the sake of making them.

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In the story of Ahmad Kaabour, art comes out of urgency, almost accidentally, in the shadow of crisis. Kaabour was still a teenager when the Lebanese Civil War began in the 1970s, setting to music a poem he never expected would travel far. Yet Ounadikom (I Call on You, 1976) would go on to outlive him in a sense, echoing through protests and public squares decades later, becoming less a song than a shared language of resistance. Kaabour positioned himself within a broader tradition of “committed art” in the Arab world; work that resists commodification and insists on meaning over market. He deliberately kept his distance from the commercial music industry, treating art not as a product but as a testimony, aligning himself with artists who saw culture as a form of witness. Even amid the upheavals of the 1970s, an era defined by conflict, uncertainty, and rupture, some of the most enduring art and music emerged not despite the crisis, but because of it.

Discover his work here.

The past is never a closed chapter; it’s a presence that continues to haunt the cultural imagination, echoing what thinkers like Jacques Derrida would describe as a kind of temporal layering, where the past refuses to fully disappear. Formed in the late 1970s by Hany Shenouda, El-Masryeen arrived at a moment when Egyptian music was still largely defined by the singular, towering voice. What they offered instead was multiplicity, layered harmonies, electronic textures, and a playful, sometimes ironic engagement with everyday life. Their rise was part of a broader cultural shift, a post-Umm Kulthum landscape, where Egypt, like much of the world, was absorbing the rhythms of disco and pop while trying to articulate something distinctly its own. Yet what lingers most is how El-Masryeen came to embody a broader mood of the 1970s, a decade shaped as much by rupture as by reinvention. It was a time when global crises and local transformations unsettled daily life, yet, in that very instability, opened the door to experimentation.

Read the article here.

The short story collection “Dreams and Tragedies” dives into the heart of a generation endlessly sold dreams. Shimmering promises that are never quite real. Its narrator, caught between hope and doubt, searches for meaning not in the applause of others but in the quiet truth of his own experience. Each story traces the fragile, exhilarating process of rewriting life on one’s own terms, discovering authenticity amid the noise, and realizing that the greatest escape may be simply learning to live for yourself.

Read more here.

Bahebak La is that effortlessly cool kind of 70s groove that makes you feel like you’ve stepped into a neon-lit Cairo night. Produced by Hany Shenouda, the track uses a slick disco-funk rhythm that is light, cheeky, and just a little rebellious. The whole song dances on that push-and-pull of “I don’t love you… but actually I might.”

Listen here.

Watch Out for Zouzou is a dazzling snapshot of 1970s Egypt, where the glitter of musical numbers, vibrant costumes, and Soad Hosni’s charm embody the era’s appetite for escapism. Beneath the sequins and dance, however, lies the reality of Zozo’s struggles; her ambitions, social constraints, and the everyday hardships she must navigate. The allure of nightlife and pop culture glitters on screen, while the weight of class, gender, and expectation shapes Zozo’s journey.

Watch it here.

Eug-nie Café is a literal love letter to Cairo’s Khedival era, blending old-world charm with modern café culture. From its ornate ceilings and vintage chandeliers to the carefully curated menu, every detail feels like a stylish time machine transporting you to the city’s golden age. It’s not just a café; it’s a space where nostalgia meets contemporary vibes, a spot for sipping coffee, lingering over pastries, and soaking in the romance of a Cairo that feels both historic and alive.

Find out more here.

The 1970s had disco in their veins, and Disco Misr is here to prove that the fever isn’t over. On Friday, April 30th, 2026, they’re taking over ZED Park in El Sheikh Zayed to mark the release of their 10th Remix Album, 10/10. But if you think this is just another album launch, think again, as Disco Misr turns every festival into a full-on day-long adventure.

Find out more here.

Aquarabia, Saudi Arabia’s first major water theme park, is being developed as part of Qiddiya City, and it’s designed to be much more than a typical waterpark. Instead of copying global theme park formulas, the project is built around a distinctly Saudi identity, using local landscapes, culture, and storytelling as its foundation.

The scale is massive: the park covers over 250,000 square meters and includes multiple themed zones based on natural features and wildlife found in the Arabian Peninsula. It features more than 20 attractions, including several record-breaking water rides, advanced surf facilities, and a mix of traditional water slides with unusual additions not typically found in waterparks.

Read more here.