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Egypt was further nudged from the Arab mainstream with its peace pact with Israel in 1979 by President Anwar Sadat, whose assassination two years later opened the way for Mubarak's rise. Then in the 1990s, Arab attention also became increasingly drawn to anti-Israel militias such as Hezbollah and the economic tug of the Gulf boomtowns. In Jerusalem, a Palestinian scholar sees another challenge to Egypt's old-line prominence coming from outside the Arab fold. Increasingly, the non-Arab states of Iran and Turkey are gaining reputations as greater champions of Arab causes, including aid to embattled Gaza, than the birthplace of Nasser's pan-Arab spirit. "For the man in the street, whether he's in the Gulf or in the Mediterranean, Egypt always has been the leader. But this has been weakened by two regional components: Turkey and Iran," said Mahdi Abdul-Hadi, chairman of the Palestinian Academic Society for the Study of International Affairs. "Turkey and Iran moved in on certain battles to speak on behalf of Arab national pride." Beyond politics, however, Egypt's cultural light burns brightly. It's particularly vivid for the Arab generations that came of age before the Internet and followed Egyptian cinema as their own Hollywood-style star factory that produced, among others, Omar Sharif. Arabic channels today still dig into the huge catalog of Egyptian films ranging from campy love stories to the celebrated 1958 noir classic "Cairo Station" that
-- at the time -- was a daring portrayal of the city's desperately poor underclass. And the songs of Egyptian singer Umm Kulthum, who died in 1975, remain as much part of current Arab culture as Elvis in the West. "Egypt for Arabs is like the pyramids to the world," said Odai Rasheed, an Iraqi film director. "The pyramids still stand, weather-beaten, after thousands of years and have survived all the invaders and looters. With Arabs, this is the case with Egypt."
[Associated
Press;
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