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The similarities between the luqam and the beignet are unmistakable. All of the key elements of the Creole Cookery Book’s doughnuts are found in luqam, save the choice of frying medium. However, what ultimately makes luqam al qadi so tempting as the origin of the Mardi Gras beignet is the use to which devout Muslims put the little pastries: they were a traditional part of the meal breaking the Ramadan fast. Sephardic Jews also used sweet fritters called bimuelos to break the Yom Kippur fast, according to David Gitlitz and Linda Kay Davidson, authors of A Drizzle of Honey. (In recent years these treats have migrated through the calendar to become associated with Hanukah.) The bimuelos are the Jewish dialect for the Spanish buñuelos, and in the relatively tolerant and cosmopolitan world of Saracen Spain in the High Middle Ages, it is hardly surprising that Muslims, Christians, and Jews might have traded recipes, making the necessary adjustments for their dietary restrictions. Thus, while Muslims could never use the pork fat for frying called for in theCreole Cookery Book, the presence of rose water and the association of fritters with fasting among the three European religions of the medieval period suggests an Islamic origin for the Mardi Gras beignet.
Ramadan In Space Time
fi practice and music in general, calling hip-hop jaheeliya poetry — a reference to the “days of ignorance,” before the advent of Islam. The young non-Muslims sporting beards and kufis were called out as “assalama-faykers,” a play on the Muslim greeting asalamu-aleykum. That rhetoric has died down, and the music goes on.
The rise and rise of Islamic music
Lynn Hope – fully dressed
Let Jahiliyah GO! (Evils Of Hip Hop Culture) – Umar Quinn
Did Coltrane say ‘Allah Supreme’?
Billy Paul – Let Em In
“Whiting H and G” (Kool and the Gang, 1974)
Malik B of the Roots rapping about salaat and zakat and the non-Muslim Jill Scott evoking Quranic suras, today representing Philly is Kindred the Family Soul, a Muslim neosoul duo as comfortable performing at national music award shows as at Muslim festivals around the country.
In short, the styles on display on the streets of Philadelphia today point to a rich cultural past — bowties and skullcaps, rolled-up calf-length pants, niqabs (face veils), izaars (kiltlike garments) worn over jeans, long T-shirts doubling as thobes and, of course, the beards. As Imam Asim Abdur-Rashid, the emir of the city’s Majlis Al-Shura, recently quipped, “Young Muslims in Philadelphia have always been photogenic. For some reason the world is only now noticing.”
Hisham Aidi teaches at Columbia University. He is the author of “Rebel Music: Race, Empire and the New Muslim Youth Culture,” a study of black internationalism and global youth culture.