By: Yomna Walid
He stepped into the music scene with a unique style, setting his own rules and surprising audiences every time he performs. This Thursday, DJ Saify will be NileFM&rsquo;s DJ of the Week, bringing his signature sound to listeners at 10:00 PM.
DJ Saify lives between two worlds, each shaping the music he delivers. Drawing from these influences, he creates sets that blend emotion, rhythm, and energy. From his early days with The Disc Jockeys to his current project Zabadi Khalat, Saify has steadily built a sound that tells a story as much as it gets people moving.
NileFM spoke to DJ Saify to explore his journey and the surprises he has in store for this special night.
Let&rsquo;s start from the beginning. Tell us about yourself. How did your journey into DJing begin?
My name is Ahmad, also known as Saify. I live between two worlds: my daytime reality and my true self at night behind the decks. Music has always been my escape and my main form of expression.
My journey started about ten years ago at a club, when I saw DJ Mohasseb perform. The way he controlled the energy and connected with the crowd completely shifted something in me. That night, I knew I wanted to do this.
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You often describe your music as a blend of Afro house and melodic house. What drew you to these genres?
I&rsquo;ve always been drawn to music that evokes deeper feelings. Afro house has raw groove and rhythm, while melodic house brings emotion and storytelling.
Blending both allows me to balance energy and feeling. It&rsquo;s not just about dancing; it&rsquo;s about losing yourself in the moment.
Take us behind the decks. How do you build a DJ set from start to finish?
I approach every set as a journey. I usually start by creating a subtle mood to pull people in, then gradually raise the energy.
Reading the crowd is everything. I adapt in real time, creating tension and release. A good set should feel like a story you don&rsquo;t want to end.
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Which event stands out most in your career?
Playing at Amsterdam Dance Event was a defining moment. Being part of such a global platform, surrounded by different sounds and cultures, was unforgettable. It pushed me to think bigger and refine my identity as an artist.
What is the most memorable feedback you&rsquo;ve received?
Someone once told me after a set, &ldquo;You didn&rsquo;t just play music, you made us feel something.&rdquo; That stuck with me. My goal has always been to create a real emotional connection, not just a party.
Do you remember the moment you realised you wanted to be a DJ?
It grew on me over time. I used to watch Armin van Buuren and Ti&euml;sto sets, especially big events like Sensation White. The energy, lights, and crowd felt like another world, and I knew I wanted to be part of it.
You&rsquo;re involved in several collaborative projects. How do they enhance creativity?
I&rsquo;m one half of two projects that shaped my journey. The Disc Jockeys was an early chapter that built my foundation and experience.
Right now, I focus on Zabadi Khalat. It&rsquo;s growing steadily and reflects where I am creatively today. Collaborations push you to think differently when there&rsquo;s mutual understanding and shared vision, the result is always stronger than working solo.
Looking ahead, what are you exploring?
I&rsquo;m refining my sound in Afro and melodic house, aiming to create a signature identity. I&rsquo;m also working on upcoming collaborations and concepts to bring fresh twists to my sets.
What have been some of the biggest challenges?
Balancing my &ldquo;daytime life&rdquo; with my passion for music has been one of the biggest challenges. It requires discipline and consistency. Over time, I&rsquo;ve learned to manage both, and the contrast fuels me creatively.
You were recently selected as DJ of the Week on NileFM. How did it feel?
It felt amazing. Being recognised on a platform like NileFM is a big step. Listeners can expect a set that represents my sound; emotional, energetic, and crafted as a journey from start to finish.
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Photo Credit: DJ Saify&rsquo;s official page
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Exclusive | DJ Saify Talks Afro House, Inspiration, and Being NileFM’s DJ of The Week

By: Yomna Walid
The night before one of the defining moments of her career, Iman Al-Junaidi had not slept. She had arrived from Alexandria, studied an unfamiliar score until dawn, prepared herself, and walked into a room full of 120 musicians she had never met, a full symphony orchestra, performing a Western operatic repertoire. None of it was territory she had previously worked in.
She raised her baton anyway. That evening, as the Grand Egyptian Museum opened its doors to the world, it was Al-Junaidi standing at the front of the stage, not a name imported from a European conservatoire, not a celebrated veteran of Cairo&rsquo;s opera scene, but a woman who had spent decades conducting Arabic music ensembles in Beni Suef, building something from very little, in a governorate with no music college and forty conductors, thirty-nine of whom were men.
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She is, and remains, the first female maestro in Egypt and the Arab world. Recognition did not end there. She would later stand before President Abdel Fattah el-Sisi at a ceremony honouring Egyptian women; another room, another moment she had not entirely expected to find herself in.
Alongside her work in the concert hall, she runs the Wajdan Egypt Foundation for Arts and Culture, sits on the Culture Committee at the National Council for Childhood and Motherhood, and quietly builds programmes for young talents and people with disabilities who might otherwise never find their way into a rehearsal room.
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NileFM spoke to Al-Junaidi to trace her journey from Upper Egypt to the presidential palace. What she built, what it cost, and what she is still working towards.
If we go back to the beginning of your journey, from your first steps in music to becoming the first female maestro in Egypt and the Arab world, tell us about that journey and the challenges you faced.
It was a difficult journey. After graduating from college, I worked in several Arab countries, leading music groups in arts centres and within Ministries of Education. After returning to Egypt, I settled in Beni Suef, where I was assigned to lead the Beni Suef University music team and also became the conductor of the National Arabic Music Ensemble.
I love my work, and I always strive to lead. I constantly study and explore new developments in music. Over time, I won seven or eight awards and participated in many Arabic music festivals, as well as university creativity competitions.
It was a difficult journey, but also a beautiful one that taught me a lot. Through it, I discovered I was the first female maestro in Upper Egypt. At that time, there were about 40 conductors in Upper Egypt working in Arabic music at Cultural Palaces; 39 were men, and I was the only woman.
One of the biggest challenges was that there were no girls in the bands. People criticised me, saying, &ldquo;Why are you doing this? You&rsquo;re a woman leaving your home and children.&rdquo; But that never mattered to me because I believe art lives in the soul, and I love giving my best through it.
Each stage had its own challenges. At first, it was hard to find musicians in Beni Suef, because there was no music college or Arabic music institute there. If, for example, a flute player was absent, I could not find a replacement. Instruments were also limited, so I often had to bring musicians from Cairo for concerts.
Finding female singers was also difficult. Even when I found one, I often had to convince her family to allow her to sing. Sometimes, if she couldn&rsquo;t attend a concert, the performance could not happen.
During the revolution period, I formed my own private band, &ldquo;Al Maestro.&rdquo; I started in Beni Suef, bringing together talented musicians and singers I knew. We recorded videos and presented them in Cairo at venues such as the Opera House and El Sawy Culturewheel. The reception was very positive, and I began travelling constantly between Cairo and Beni Suef.&nbsp;
Eventually, I decided to settle in Cairo to access more musicians. I formed a band there, expanded its repertoire, incorporated folklore elements, and presented new shows. Initially, the audience was small, but over time I built a following.
My first major recognition came in 2010 when I was honoured as one of the creative women by the Cultural Palaces Organization at Cairo Opera House. Later, after forming my band, I received the &ldquo;First Lady of Egypt&rdquo; award in 2021 at Qubba Palace, celebrating successful Egyptian women. That moment was a lifelong dream.
Receiving that recognition carried a huge responsibility to work harder, expand my projects, and further develop the band. I later founded the Wajdan Egypt Foundation for Arts and Culture, focusing on talented individuals and how to showcase their abilities. Because I struggled early in my career, I always try to support amateur artists. In every concert, I try to highlight two or three new talents to give them a stronger push. The foundation supports talents in all forms of art because art is a message.
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You recently participated in International Women&rsquo;s Day celebrations attended by President Abdel Fattah el-Sisi. What did that moment feel like?
It was a huge honour. I never expected to be recognised by the president, to sit beside him, speak, and express my opinion. For me, it was truly a lifelong dream.
That day was also emotionally difficult, as my brother had passed away the day before. Despite my grief, I felt it was important to attend and meet the president. Thanks to God, I managed to speak about important topics related to children and young talents.
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You have met President Abdel Fattah el-Sisi more than once. What is the most influential advice or message he gave you?
He emphasised three important points: the role and recognition of Egyptian women, the care of people with disabilities, and the importance of art and talent.
He spoke about creating a &ldquo;State of Arts,&rdquo; similar to the State of "Quranic Recitation," to support and nurture artistic talent. I appreciated how he pays attention to details and supports Upper Egypt. I thanked him for supporting Egyptian women, Upper Egyptian women, and the arts; this honours Egypt as a whole.
Before the Grand Egyptian Museum opening, what were the most important behind-the-scenes moments during preparation?
The invitation was a complete surprise. I had never expected to lead the symphony orchestra at the museum&rsquo;s opening, especially since I run an independent foundation.
The recording took place over just two days, and I had only just received the score. It was an opera performance, Western music, all new to me. I did not sleep that night, studying the music intensely. I did not know any of the 120 musicians in the orchestra, but I was determined to succeed.
During filming, I felt dizzy from exhaustion and had to sit for a moment. But after finishing, I felt immense happiness; I had honoured Egypt.
In the Wajdan Foundation, you focus on teaching music to people with disabilities. Tell us more about that experience.
From the beginning, the foundation welcomed all forms of art, including for people with disabilities. We teach skills such as drawing, writing, and handicrafts, and organise &ldquo;Happiness Days&rdquo; for singing, poetry, and performances.
Some participants have learned to sing and play instruments. I also involve mothers in workshops so they can continue support at home. Our aim is to provide comprehensive artistic education to empower everyone.
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As the first female maestro in Egypt and the Arab world, did you ever feel you had to work harder to prove yourself?
Every stage has challenges, and every stage makes your dreams grow bigger. Even now, I feel I have many dreams I have yet to achieve. I told the president about my artistic and cultural projects, and I hope to see them realised.
You worked teaching music in Kuwait and Oman. How did teaching abroad differ from teaching in Egypt?
Egypt is the country of civilisation and art. Abroad, I taught singing at youth and sports arts centres for people aged 18&ndash;35. In Egypt, I teach all ages, even those over 70, and cover music more broadly: instruments, religious chanting, musical modes; all aspects of music.
You have spoken about a &ldquo;State of Creativity and Art.&rdquo; Can you explain this vision?
The idea is to discover talents, nurture them, and showcase them. Many talented people lack opportunities. The president suggested creating a &lsquo;State of Arts and Creativity&rsquo;, similar to the &lsquo;State of Quranic Recitation&rsquo;, which would support artistic talent, particularly in Upper Egypt, and highlight even the smallest talents.
When you meet a new musical talent, what makes you feel this person could become a real artist?
At first, most talented people are shy and unsure. I listen carefully, whether they sing or play an instrument. Training and practice are key. I guide them on pronunciation, technique, and improvement.
What distinguishes Egyptian music from the rest of the world, and how can it reach global audiences?
Egyptian music has a very long history. Anyone who wants to become famous or compose music often comes to Egypt. Once you succeed here, you can reach the world.
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What is the most important message you deliver through your artistic work?
My message is to promote true artistic creativity; honest, respectful, and elegant art that honours our culture. We aim to combat low-quality art, starting with children, introducing them to great artists like Umm Kulthum and Warda, and helping them reconnect with Egypt&rsquo;s artistic heritage.
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Photo Credit: Iman Al-Junaidi&rsquo;s official page

Exclusive | Iman Al-Junaidi, Egypt’s First Female Maestro on Breaking Barriers, The Grand Egyptian Museum, and a Meeting with President El-Sisi

Two couples are preparing for marriage, but just days before their wedding, their relationship begins to unravel when one partner uncovers unsettling truths about the other. This is the premise of "The Drama," a dark comedy with psychological undertones directed by Kristoffer Borgli and starring Zendaya and Robert Pattinson.
The film follows Emma, played by Zendaya, and Charlie, portrayed by Pattinson, as their seemingly perfect relationship begins to fall apart. Here are five things to know before the film hits cinemas on 3 April 2026.
Marketing One of the main reasons audiences are eagerly anticipating the film is its creative marketing campaign. Early promotional images featured Pattinson and Zendaya in a newspaper-style photoshoot, with Zendaya wearing an engagement ring. The unconventional approach sparked online curiosity and encouraged audiences to search for more details about the story.
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Atmosphere The trailer establishes a layered tone, opening with romantic music and intimate moments between the couple before gradually revealing tension and emotional conflict. This shift suggests something darker beneath the surface, blending warmth with unease in a way that reflects the film&rsquo;s dark comedy roots.
Cast Zendaya and Robert Pattinson are among the most compelling actors of their generation. Pattinson has expanded his range beyond early fame, with acclaimed performances in "The Batman," "Tenet," and "The Lighthouse." Zendaya, meanwhile, has emerged as one of Hollywood&rsquo;s most versatile talents, gaining global recognition for her role in the "Spider-Man" franchise. The Drama marks the first time the two share the screen, a pairing that has generated significant excitement.
Chaotic Love Zendaya and Pattinson portray Emma and Charlie, a couple deeply in love but facing unexpected complications. A week before their wedding, they play a drunken game with friends, portrayed by Alana Haim and Mamoudou Athie, asking each other, &ldquo;What&rsquo;s the worst thing you&rsquo;ve ever done?&rdquo; Emma&rsquo;s shocking confession alters everything, turning the days leading up to their wedding into an emotionally tense and uncomfortable experience.
Director&rsquo;s Style Kristoffer Borgli is known for blending dark humour with uncomfortable social situations. His previous work, including "Dream Scenario," explores the psychologically complex and often awkward sides of human behaviour.
"The Drama" appears to continue that signature style, combining romance and tension into something both unsettling and darkly comic.
Photo Credit: A24's official page

Five Things to Know About The Anticipated Film “The Drama”

Born on June 21, 1929, in El-Halawat village in Sharqia, Abdel Halim Ali Shabana came into the world already marked by loss. His mother died shortly after his birth, and his father passed away before his first birthday. Raised as an orphan by his uncle, he grew up knowing grief intimately; a pain that would later find its way into every note he sang. He joined the Arabic Music Institute in Cairo, specializing in the oboe, graduating in 1948 before beginning his career as a music teacher.
Turning Point
He left teaching to join the Egyptian Radio Orchestra as an oboe player, where he met broadcaster Hafez Abdel Wahab, who gave him his now-iconic stage name &ldquo;Hafez&rdquo; in place of Shabana. It was a small moment that carried enormous weight and so, a legend was born.
Ahwak
Composed by Mohamed Abdel Wahab with lyrics by Hussein El-Sayed, &ldquo;Ahwak&rdquo; became one of the defining songs of Abdel Halim&rsquo;s career. Abdel Wahab created a melody that blended classical Arabic music with modern orchestration, giving Abdel Halim the space to deliver an intimate and deeply emotional vocal performance. The simplicity of the lyrics, &ldquo;I love you and wish I could forget you&rdquo;, made the song instantly relatable, resonating across generations long after it was first recorded.
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Tkhonoh
According to Monte Carlo International, &ldquo;Tkhonoh&rdquo; was not originally intended for Abdel Halim. The song was composed by his close friend Baligh Hamdi, who had been developing it for the legendary Layla Mourad. When Abdel Halim heard it, he was immediately captivated and expressed deep admiration for the melody. In a gesture of warmth and generosity, Layla Mourad willingly handed the song over to him, encouraging him to make it his own. What followed was one of the most tender and enduring recordings of his career.
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Ala Hesb Wedad
One of Abdel Halim&rsquo;s most beloved folk-inspired recordings, &ldquo;Ala Hesb Wedad&rdquo; was composed by Baligh Hamdi and was among the first songs to weave Upper Egyptian folklore into a romantic musical framework. The story behind it centers on a famous Upper Egyptian dancer named Widad Al-Ghaziya, who was loved by a wealthy pasha but gave her heart to someone from her own social class, a tale that gave rise to the popular saying: &ldquo;According to my heart&rsquo;s desire, oh father.&rdquo; In Abdel Halim&rsquo;s hands, the song became a celebration of authentic emotion over social expectation and remains a staple of Egyptian folk memory.
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Voice of a Nation
Following Egypt&rsquo;s defeat in the 1967 war, Abdel Halim became the voice of a wounded nation, channeling collective grief, resilience, and hope through his music. He delivered a series of immortal patriotic songs, most notably &ldquo;Adda El Nahar&rdquo; and &ldquo;Ahlef Be Samaha,&rdquo; giving the Egyptian people a way to process their sorrow and hold onto their dreams. His willingness to bear the nation&rsquo;s pain in his voice elevated him beyond the role of singer, he became a symbol of the Egyptian spirit.
Qareat Al Fengan
In 1973, Syrian poet Nizar Qabbani wrote one of his most celebrated poems and sent it directly to Abdel Halim Hafez, believing it would reach a new dimension if set to music. When Abdel Halim read the lyrics, he felt the poem spoke directly to his own emotional life. He brought it to composer Mohamed El Mougy, and the process of setting it to music took an entire year, reflecting its complexity and depth. &ldquo;Qareat Al Fengan&rdquo; stands as one of the most sophisticated songs ever recorded in the Arabic musical canon, and it would be the last song Abdel Halim recorded before his death.
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On the Silver Screen
Abdel Halim Hafez made his cinema debut in 1955 with &ldquo;Lahn Al-Wafa&rdquo; (Tune of Loyalty), starring alongside Shadia. Over the course of his career, he appeared in 16 films, including &ldquo;Days and Nights,&rdquo; &ldquo;Girls of Today,&rdquo; &ldquo;Love Story,&rdquo; &ldquo;Sins,&rdquo; and &ldquo;My Father on the Tree,&rdquo; each showcasing his natural charisma and ability to carry both song and story with equal grace.
The Nightingale Falls Silent
Today, March 30, 2026, marks exactly 49 years since the Arab world lost one of its greatest artists. Abdel Halim Hafez passed away on March 30, 1977, in London at the age of 47 after a long illness. The news sent shockwaves across Egypt and the wider Arab world, and millions mourned him in a funeral that reflected the scale of his impact. He left behind not just songs, but a living legacy; one that continues to move, comfort, and inspire with every listen.
On June 21, 2011, Google marked what would have been his 82nd birthday with a special commemorative logo, a fitting tribute to a man whose voice, decades after his passing, still feels very much alive.
Photo Credit: Abdel Halim Hafez&rsquo;s official page
&nbsp;

49 Years On: Why Abdel Halim Hafez Still Moves The Arab World

One of the most anticipated films of 2026, The Bride, has finally arrived, and it proves well worth the wait. The film revisits one of fiction&rsquo;s most enduring stories while posing a question audiences have long pondered: did Frankenstein&rsquo;s monster ever find someone to love, or was he destined to remain feared and alone forever?
Since the publication of Frankenstein; or The Modern Prometheus in 1818, Mary Shelley&rsquo;s iconic work has inspired hundreds of film and television adaptations. Yet few have focused on the mysterious figure of the bride.
After a five-year break from directing, Maggie Gyllenhaal returns with a bold and imaginative take on the story. Rather than centring solely on the monster or his creator, the film shifts perspective to explore the woman brought to life as his companion.
Starring Christian Bale and Jessie Buckley, the film is set in 1930s Chicago. In this reimagining, a pioneering scientist named Dr. Euphronious resurrects a murdered young woman to serve as a companion for Frankenstein&rsquo;s monster, a decision that leads to consequences neither could have anticipated.
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At its core, The Bride raises a deeply human question: can anyone truly live alone without friends, family, or a partner? For Frankenstein&rsquo;s monster, the answer has always been no. Throughout his existence, he searches for someone like himself, someone who might understand his loneliness. In The Bride, he may finally find that connection.
The film arrives following the release of Frankenstein (2025), directed by Guillermo del Toro and starring Jacob Elordi. Del Toro&rsquo;s interpretation approached the story from the scientist&rsquo;s perspective, exploring the moral and emotional consequences of creation and ambition.
While the two films differ significantly in tone and narrative focus, together they signal a renewed fascination with Shelley&rsquo;s gothic myth. More than two centuries later, the story of Frankenstein continues to find new life.
Final thought For Frankenstein&rsquo;s monster, the search for companionship has always been central to his story. In The Bride, that search takes centre stage, a reminder that even the most misunderstood creature longs for connection.
Photo Credit: Warner Bros. Pictures&rsquo; official page

‘The Bride’ Puts Frankenstein’s Search for Love Centre Stage

According to a statement issued by the Egyptian Ministry of Tourism and Antiquities, TIME magazine has named the Grand Egyptian Museum one of the world's top cultural destinations to visit in 2026, a recognition that arrives just months after the museum completed its historic opening to international visitors.
The ministry's statement noted that the global publication included the Giza museum in its annual list of recommended travel destinations, singling out its Tutankhamun collection as a standout attraction and praising its approach to preserving and presenting antiquities. Exhibition halls are equipped with advanced environmental control systems designed to maintain optimal conditions for the artifacts on display, a detail TIME highlighted as representing a leap forward in how Egypt protects its ancient heritage.
What makes the recognition particularly significant is the timing. On 4 November 2025, after years of anticipation and a phased opening process, the Grand Egyptian Museum threw open its doors in full, marked by three days of celebrations at the foot of the Giza Plateau. It was a moment decades in the making.
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The museum's scale alone is staggering. Spread across more than 500,000 square meters in the shadow of the Great Pyramids, it houses over 100,000 artifacts spanning 7,000 years of history, from pre-dynastic Egypt through the Greek and Roman periods. Its architecture is deliberately symbolic, designed as a bridge between Egypt's ancient past and its contemporary ambitions.
The crown jewel of the collection is the complete Tutankhamun treasury. For the first time in history, all 5,398 artifacts belonging to the boy king are displayed together under one roof, including golden coffins, royal shrines, jeweled ornaments, weapons, and chariots, each piece part of a story that has captivated the world since Howard Carter unsealed the tomb in 1922. Seeing them not in a foreign museum but on Egyptian soil, within sight of the pyramids that defined their era, gives the experience a weight no other venue could offer.
Beyond the ancient treasures, the museum includes a dedicated Children's Museum, offering hands-on and immersive exhibits designed to make Egypt's history accessible to younger visitors, an often-overlooked feature that broadens its appeal well beyond archaeology enthusiasts.
TIME's endorsement, as cited by the ministry, frames the museum not just as a place to see artifacts, but as an experience that combines accessibility with depth, allowing visitors to encounter some of the world's most iconic objects in their original homeland. For Egypt's tourism sector, the recognition is a timely boost. For visitors planning their 2026 travels, it is a compelling reason to make Giza a priority.
Photo Credit: Grand Egyptian Museum&rsquo;s official page
&nbsp;

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