And when the officer grew up, a few years after the Officers' Revolution, and perhaps with the independence of the country for which Fawzi composed his anthem, the state nationalized Masrphone and Fawzi found himself an employee in his possession. His health deteriorated afterwards and he contracted a rare disease according to the classification of German doctors at the time, they called it ‘Fawzi's Disease’ or ‘The Fawzi Condition’ Later, thanks to a YouTube video about the Algerian national anthem, I discovered that the anthem’s poem Qassaman (I Swear) by Moufdi Zakaria was composed twice before Fawzi, once in Algeria and the second in Tunisia, and both times it was closer to singing a stage choir or religious prayers. Fawzi came later, and his contribution was a stone in the whole building between Nasirist Egypt, and Algeria the Liberation Front. But what is astonishing, and expected, is that Mohamed Fawzi of the sweet melodies did not put in the beats of drums and brass percussions that characterized the military march of Qassaman. On the contrary, his anthem was dreamy and was unanimously accepted for "its revolutionary character, with reservations on the introduction." Later came the Algerian composer Haroun Al Rashid (1932-2010) with the beats of drums and marching, to militarize the national anthem. The light violin movement after “and we are determined that Algeria will live,” done by Fawzi, became a loud cymbal hit by Haroun al-Rashid, which made the Algerians relegate at the revolutionary moment of 1954 instead of, perhaps, inviting them to dream with Mohamed Fawzi every time.