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Music has the universal power to move individuals, peoples and societies. Music is one of the most important signifiers of cultural change. It is also most significant for youth movements and youth cultures. While Islam has a historically and traditionally rich culture of music, religious controversy on the topic of music is still ongoing. However, young Muslims in today's globalised world seek pop cultural tools such as music, and particularly hip hop music, as way of exploring and expressing their manifold identities, whilst challenging Islamophobia, stigma and racism on the one hand and traditional and religious challenges on the other hand. In this volume, following an international conference with the same title, scholars and young academics from a variety of disciplines seek to explore and highlight the phenomena surrounding the two, somewhat artificially separated, realms of music and religion. The contributions not only look into different genres of music, from Tunisian metal over German female hip hop to Egyptian folk, but take the reader on a journey from continent to countries to cities and rural areas and thus give space and time to a widely neglected area of research: that of Muslim popular culture and young Muslims.
"With a new epilogue, The Morning After"--Cover.
"The story you are about to read is the story of a light-bringer....Salman Ahmad inspires me to reach always for the greatest heights and never to fear....Know that his story is a part of our history." -- Melissa Etheridge, from the Introduction With 30 million record sales under his belt, and with fans including Bono and Al Gore, Pakistanborn Salman Ahmad is renowned for being the first rock & roll star to destroy the wall that divides the West and the Muslim world. Rock & Roll Jihad is the story of his incredible journey. Facing down angry mullahs and oppressive dictators who wanted all music to be banned from the Islamic Republic of Pakistan, Salman Ahmad rocketed to the top of the music charts, bringing Westernstyle rock and pop to Pakistani teenagers for the first time. His band Junoon became the U2 of Asia, a sufi - rock group that broke boundaries and sold a record number of albums. But Salman's story began in New York, where he spent his teen years learning to play guitar, listening to Led Zeppelin, hanging out at rock clubs and Beatles Fests, making American friends, and dreaming of rock-star fame. That dream seemed destined to die when his family returned to Pakistan and Salman was forced to follow the strictures of a newly religious -- and stratified -- society. He finished medical school, met his soul mate, and watched his beloved funkytown of Lahore transform with the rest of Pakistan under the rule of Zia into a fundamentalist dictatorship: morality police arrested couples holding hands in public, Little House on the Prairie and Live Aid were banned from television broadcasts, and Kalashnikovs and rocket launchers proliferated on college campuses via the Afghani resistance to Soviet occupation in the north. Undeterred, the teenage Salman created his own underground jihad: his mission was to bring his beloved rock music to an enthusiastic new audience in South Asia and beyond. He started a traveling guitar club that met in private Lahore spaces, mixing Urdu love poems with Casio synthesizers, tablas with Fender Stratocasters, and ragas with power chords, eventually joining his first pop band, Vital Signs. Later, he founded Junoon, South Asia's biggest rock band, which was followed to every corner of the world by a loyal legion of fans called Junoonis. As his music climbed the charts, Salman found himself the target of religious fanatics and power-mad politicians desperate to take him and his band down. But in the center of a new generation of young Pakistanis who go to mosques as well as McDonald's, whose religion gives them compassion for and not fear of the West, and who see modern music as a "rainbow bridge" that links their lives to the rest of the world, nothing could stop Salman's star from rising. Today, Salman continues to play music and is also a UNAIDS Goodwill Ambassador, traveling the world as a spokesperson and using the lessons he learned as a musical pioneer to help heal the wounds between East and West -- lessons he shares in this illuminating memoir.
A Muslim punk house in Buffalo, New York, inhabited by burqa-wearing riot girls, mohawked Sufis, straightedge Sunnis, Shi’a skinheads, Indonesian skaters, Sudanese rude boys, gay Muslims, drunk Muslims, and feminists. Their living room hosts parties and prayers, with a hole smashed in the wall to indicate the direction of Mecca. Their life together mixes sex, dope, and religion in roughly equal amounts, expressed in devotion to an Islamo-punk subculture, “taqwacore,” named for taqwa, an Arabic term for consciousness of the divine. Originally self-published on photocopiers and spiralbound by hand, The Taqwacores has now come to be read as a manifesto for Muslim punk rockers and a “Catcher in the Rye for young Muslims.” There are three different cover colors; red, white, and blue.
How do Muslims who grew up after September 11 balance their love for hip-hop with their devotion to Islam? How do they live the piety and modesty called for by their faith while celebrating an art form defined, in part, by overt sexuality, violence, and profanity? In Representing Islam, Kamaludeen Mohamed Nasir explores the tension between Islam and the global popularity of hip-hop, including attempts by the hip-hop ummah, or community, to draw from the struggles of African Americans in order to articulate the human rights abuses Muslims face. Nasir explores state management of hip-hop culture and how Muslim hip-hoppers are attempting to "Islamize" the genre's performance and jargon to bring the music more in line with religious requirements, which are perhaps even more fraught for female artists who struggle with who has the right to speak for Muslim women. Nasir also investigates the vibrant underground hip-hop culture that exists online. For fans living in conservative countries, social media offers an opportunity to explore and discuss hip-hop when more traditional avenues have been closed. Representing Islam considers the complex and multifaceted rise of hip-hop on a global stage and, in doing so, asks broader questions about how Islam is represented in this global community.
Unlike other athletes, the rock climber tends to disregard established norms of style and technique, doing whatever she needs to do to get to the next foothold. This figure provides an apt analogy for the scholar at the center of this unique book. In Rocking Qualitative Social Science, Ashley Rubin provides an entertaining treatise, corrective vision, and rigorously informative guidebook for qualitative research methods that have long been dismissed in deference to traditional scientific methods. Recognizing the steep challenges facing many, especially junior, social science scholars who struggle to adapt their research models to narrowly defined notions of "right," Rubin argues that properly nourished qualitative research can generate important, creative, and even paradigm-shifting insights. This book is designed to help people conduct good qualitative research, talk about their research, and evaluate other scholars' work. Drawing on her own experiences in research and life, Rubin provides tools for qualitative scholars, synthesizes the best advice, and addresses the ubiquitous problem of anxiety in academia. Ultimately, this book argues that rigorous research can be anything but rigid.
In the name of Allah, the Most Merciful and Most Compassionate. Praise to the One Who completed this religion and sent guidance through His Messenger salAllahu 'alayhi wa sallam. To begin: Every so often our daily lives preoccupy us and turn us away from Allah's promise. When we walk out of our homes, turn on the radio, TV, or Internet, we are distracted by the evils we see and hear. As result of immorality and unashamed disobedience, our hearts grow hard and distant from Allah and His Messenger's call. We know the message of Islam is true, but we are weak due to the rigidity of our heart, spirit and mind. In times like these, we need something to penetrate that stiffness. We need a remedy to soften that hardness and the inflexibility of our choices. Disunity and harshness afflicts this Ummah today. Consequently, many people have turned away from brotherhood, caring, and even Islam itself. Their hearts have transformed into dwellings of complete hatred for a sinner, disdain toward the weak Muslim, and jealousy of their successful brother or sister.I have selected some ahaadeeth from the most authentic book after the Qur'aan to soften the hearts in our chests. I used Shaykh Muhammad ibn Saalih Al-'Uthaymeen's explanations for the ahaadeeth selected. The ahaadeeth selected come from a book in Imam Al-Bukhari's collection titled Riqaq: Heart Softeners. This chapter brings tears to one's eyes, fear to one's mind, and most importantly it diminishes the rigidity in one's heart. I ask Allah to make the translation and compilation solely for His pleasure. I pray to Allah for acceptance of this deed and His mercy in the Hereafter.Abu Aaliyah Abdullah ibn Dwight Battle Ramadan 18th, 1433Doha, Qatar (c)
What does it mean to be young and Muslim today? There is a segment of the world's 1.6 billion Muslims that is more influential than any other, and will shape not just the future of Muslims, but also the world around them: meet 'Generation M'.From fashion magazines to social networking, the 'Mipsterz' to the 'Haloodies', halal internet dating to Muslim boy bands, Generation M are making their mark. Shelina Janmohamed, award-winning author and leading voice on Muslim youth, investigates this growing cultural phenomenon at a time when understanding the mindset of young Muslims is critical. With their belief in an identity encompassing both faith and modernity, Generation M are not only adapting to Western consumerism, but reclaiming it as their own.
"A sound contribution to our knowledge of the uses of tradition and modernity by states, of the social life of Islamic texts, and of the historical roles of schooling in social change."—John Bowen, author of Muslims through Discourse
This updated reissue of Mark LeVine’s acclaimed, revolutionary book on sub- and countercultural music in the Middle East brings this groundbreaking portrait of the region’s youth cultures to a new generation. Featuring a new preface by the author in conversation with the band The Kominas about the problematic connections between extreme music and Islam. An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A young Lebanese singer who quotes Bob Marley’s “Redemption Song.” Heavy metal, punk, hip-hop, and reggae are each the music of protest, and are considered immoral by many in the Muslim world. As the young people and subcultures featured in Mark LeVine’s Heavy Metal Islam so presciently predicted, this music turned out to be the soundtrack of countercultures, uprisings, and even revolutions from Morocco to Pakistan. In Heavy Metal Islam, originally published in 2008, Mark LeVine explores the influence of Western music on the Middle East and North Africa through interviews with musicians and fans, introducing us to young people struggling to reconcile their religion with a passion for music and a thirst for change. The result is a revealing tour de force of contemporary cultures across the Muslim majority world through the region’s evolving music scenes that only a musician, scholar, and activist with LeVine’s unique breadth of experience could narrate. A New York Times Editor’s Pick when it was first published, Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music reveals itself to be a true democratizing force—and a groundbreaking work of scholarship that pioneered new forms of research in the region.