In the 1920s, the women of Oran were held to strict code of conduct. Many of those that failed became social outcasts and singers and dancers. They sang medh songs in praise of the prophet Mohammed and performed for female audiences at ceremonies such as weddings and circumcision feasts. These performers included Les Trois Filles de Baghdad, Soubira bent Menad and Kheira Essebsadija. Another group of female social outcasts were called "cheikhas", who were known for their alluring dress, hedonistic lyrics, and their display of a form of music that was influenced from meddhahates and zendani singers. These cheikhas, who sang for both men and women, included people such as Cheikha Remitti el Reliziana, Cheikha Grélo, Cheikha Djenia el Mostganmia, Cheikha Bachitta de Mascara, and Cheikha a; Ouachma el Tmouchentia. The 1930s saw the rise of revolutionary organizations, including organizations motivated by Marxism, which mostly despised these early roots raï singers. At the same time, Arabic classical music was gaining huge popularity across the Maghreb, especially the music of Egypt's Umm Kulthum.