Evolution of Arabic pop - pt 2

In a recent post, I wrote on the evolution of Arabic music.  My point was that the music and video clips are being produced using a more diverse array of tools than in the past.  The production values are rising.  On Shehab's blog RA, he takes a different tack.  (Lots of links to follow-up on over the next few days ...)

I would say: the music cultures are different.  Arabic pop is listened to at home, or while driving, to energise, to relax, to muse, to distract, to dream ...  Western music culture uses music in a much broader range.  It draws on multiple heritages.  The clubbing scene has its own 'subcultures' that are constantly innovating.  It's a big market, a very profitable one.  The dance 'subcultures' have very strong followings - especially among the 15-30 age bracket.  In fact, whereas I absolutely love the songs I have linked to, I recognise that they were not designed for me.  The videos tend to be naughty; the words can be appalling; but "dude man the tunes are awesome ... chill, we'll bounce off a coupla clubs before we finish off at my place, you're in, right?"

This is virtually unmatched in Arabic culture.   Its closest analog would be the belly-dancing scene, which does have a distinct type of music but with a much-reduced following.  In the Arab world, the pie-chart is dominated by mainstream pop, previous-generation music, and thank you very much.  Sufi anashid, for example, have a miniscule following.