Skip to main content
×
×
Home

Listening While Muslim

  • Nabeel Zuberi (a1)
Abstract

You are what you hear, not what you say. This personal reflection explores how listening to music in the post 9/11 context enabled me to negotiate ideas of diasporic Muslim identity when speaking as Muslim proved much more difficult. Islamophobia and Islamophilia both apply pressures on the kind of Muslim one can be in public. Listening to electronic music genres, hip hop and punk from the US and UK opened up spaces to engage with war and terror, racism and media. Much of this music refers directly to Muslim peoples, places and structures of feeling. Yet music that isn't explicit about the Muslim is also conscripted for life during wartime in which some of us feel wary about articulating those Muslim parts of our garbled selves. Music genres have specific affordances that modulate Muslim affects and discourses, and shape new and indeterminate ways of being Muslim.

Copyright
References
Hide All
Ahmed, S. 2004. ‘Affective economies’, Social Text, 22/2, pp. 117–39
Ahmed, T. ‘Hollywood-ification’. http://taqwacore.wordpress.com/2010/11/12/hollywood-ification/ (accessed 12 November 2010)
Aidi, H. 2014. Rebel Music: Race, Empire and the New Muslim Youth Culture (New York, Pantheon)
Ali, J. 2016. ‘Muslimgauze: From one Palestinian about Bryn Jones’, Outsider, 10 August 2016, http://www.outsidermag.co/culture/2016/8/10/muslimgauze-from-one-palestinian-about-bryn-jones (accessed 2 September 2016)
Alim, H.S. 2006. ‘Reinventing Islam with unique modern tones: Muslim hip hop artists as verbal mujahidin’, Souls: A Critical Journal of Black Politics, Culture, and Society, 8/4, pp. 4558
Bilgrami, A. 1992. ‘What is a Muslim? Fundamental commitment and cultural identity’, Critical Inquiry, 18/4, pp. 821–42
Born, G. 2011. ‘Music and the materialization of identities’, Journal of Material Culture, 16/4: 376–88
Cooke, M., and Lawrence, B.B. (eds.) 2005. Muslim Networks from Hajj to Hip Hop (Chapel Hill, NC, University of North Carolina Press)
Cusick, S.G. 2008. ‘“You are in a place that is out of the world…”: Music in the detention camps of the “Global War on Terror”’, Journal of the Society for American Music 2/1, pp. 126
Daughtry, J.M. 2015. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq (New York, Oxford University Press)
Daulatzai, S. 2012. Black Star, Crescent Moon: The Muslim International and Black Freedom Beyond America (Minneapolis, MN, University of Minnesota Press)
Devine, K. 2013. ‘Imperfect sound forever: Loudness wars, listening formations, and the history of sound reproduction’, Popular Music, 32/2, pp. 159–76
Fisher, J.P., and Flota, B. (eds.) 2011. The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror (Farnham, Ashgate)
Flatley, J. 2008. Affective Mapping: Melancholia and the Politics of Modernism (Cambridge, MA, Harvard University Press)
Flatley, J. 2012. ‘How a revolutionary counter-mood is made’, New Literary History, 43/3, pp. 503–25
Frith, S. 1993. ‘Britbeat: I am what I am’, Village Voice, 38/31, 3 August, p. 82
Gilbert, J. 2004. ‘Signifying nothing: culture, discourse and the sociality of affect’, Culture Machine, 6. http://www.culturemachine.net/index.php/cm/article/viewarticle/8/7 (accessed 15 July 2016)
Goodman, S. 2010. Sonic Warfare: Sound, Affect, and the Ecology of Fear (Cambridge, MA, The MIT Press)
Hall, S., and Jefferson, T. (eds.) 1976. Resistance through Rituals: Youth Subcultures in Post-war Britain (London, Hutchinson)
Hebdige, D. 1979. Subculture: The Meaning of Style (London, Methuen)
Henriques, J. 2011. Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing (New York, Continuum)
Hesmondhalgh, D. 2013. Why Music Matters (Oxford, John Wiley & Sons)
Hsu, W.F. 2013. ‘Mapping The Kominas’ sociomusical transnation: punk, diaspora, and digital media’, Asian Journal of Communication, 23/4, pp. 386402.
Kassabian, A. 2013. Ubiquitous Listening: Affect, Attention and Distributed Subjectivity (Berkeley, CA, University of California Press)
Khabeer, S.A. 2016. Muslim Cool: Race, Religion and Hip Hop in the United States (New York, New York University Press)
Khider, I. 2014. Muslimgauze: Chasing the Shadow of Bryn Jones (Hong Kong, VOD Records)
Knight, M.M. 2004. The Taqwacores (New York, Autonomedia)
Mohaiemen, N. 2008. ‘Fear of a Muslim planet: the Islamic roots of hip-hop’, in Sound Unbound: Sampling Digital Music and Culture, ed. Miller, P.D. (Cambridge, MA, The MIT Press), pp. 303–25
Muñoz, J.E. 2000. ‘Feeling brown: ethnicity and affect in Ricardo Bracho's The Sweetest Hangover (and Other STDs)’, Theatre Journal, 52/1, pp. 6779
Murthy, D. 2010. ‘Muslim punks online: a diasporic Pakistani music subculture on the Internet’, South Asian Popular Culture, 8/2, pp. 181–94.
Negus, K., and Roman-Velázquez, P. 2002. ‘Belonging and detachment: musical experience and the limits of identity’, Poetics, 30/, pp. 133–45
Sande, K. 2012. ‘Dominick Fernow on Prurient's Bermuda Drain and Vatican Shadow's “atmosphere of degeneration”’. FACT. http://www.factmag.com/2012/04/01/prurient-and-still-wanting/2/ (accessed 2 September 2016)
Sayyid, S. 2000. ‘Beyond Westphalia: nations and diasporas – the case of the Muslim umma’, in Un/settled Multiculturalisms: Diasporas, Entanglements, Transruptions, ed. Hesse, B. (London, Zed Books), pp. 3350
Taylor, T.D. 2001. Strange Sounds: Music, Technology and Culture (New York, Routledge)
Thompson, M., and Biddle, I. (eds.) 2013. Sound, Music, Affect: Theorizing Sonic Experience (London, Bloomsbury Press)
Wetherell, M. 2013. ‘Affect and Discourse - What's the Problem? From Affect as Excess to Affective/Discursive Practice’, Subjectivity, 6/4, pp. 349–68
Williams, R. 1977. Marxism and Literature (Oxford, Oxford University Press)
Al Qadiri, Fatima. Desert Strike. Fade to Mind. 2012
Applebim and Shackleton. Soundboy's Bones Get Buried in the Dirt Vol. 2. Skull Disco. 2006
Big Daddy Kane. ‘Ain't No Half-Steppin. Cold Chillin’. 2002
Bug, The. London Zoo. Ninja Tune. 2008
Burial. Rival Dealer. Hyperdub. 2014
Heems. Eat, Pray, Thug. Greedhead. 2015
Kominas, The. Stereotype. Self-released/Bandcamp. 2015
Kominas, The. Wild Nights in Guantanamo Bay. Poco Party. 2008
M.I.A., ‘Sunshowers’. Piracy Funds Terrorism (Volume 1). Self-released. 2004
Mos Def. The Ecstatic. Downtown Music. 2009
Muslimgauze. Salaam Alekum, Bastard. Soleilmoon. 1995
Mutamassik. War Booty. Soot Records. 2002
Mutamassik. That Which Death Cannot Destroy. Sa'aidi Hardcore Productions/KMT Babomb USA. 2010
Mutamassik. Rekkez. ini.itu. 2012
Mutamassik. Symbols Follow. Discrepant. 2015
Riz, MC. The Post 9/11 Blues. Battered Records. 2006
Shackleton. Soundboy's Nuts Get Ground Up Proper EP. Skull Disco. 2006
Swet Shop Boys. Swet Shop EP. Greedhead. 2014
Various Artists. Rangarang: Pre-Revolutionary Iranian Pop. Vampisoul. 2011
Vatican Shadow. Kneel Before Religious Icons. Hospital Productions. 2011
Vatican Shadow. Media in the Service of Terror. Hospital Productions. 2016
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Popular Music
  • ISSN: 0261-1430
  • EISSN: 1474-0095
  • URL: /core/journals/popular-music
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Metrics

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Abstract views

Total abstract views: 0 *
Loading metrics...

* Views captured on Cambridge Core between <date>. This data will be updated every 24 hours.

Usage data cannot currently be displayed