Thursday, May 20, 2021

A roundtable discussion with 2 punk band members, radio host and blogger on Islam, and a religion reporter on Muslim punk

This is an edited version of a roundtable discussion between two members of the taqwacore or Muslim punk band, Kominas, a radio host and blogger who discusses Islam, and a reporter from Religion Dispatches.

TAQWACORE ROUNDTABLE: ON PUNKS, THE MEDIA, AND THE MEANING OF “MUSLIM”


Imagine standing in a copy shop, running off copies of a book you wrote. You have to distribute it yourself, and you cannot keep up with demand. Sometimes you get paid for the labor of copying and mailing. That was Michael Muhammad Knight before his novel The Taqwacores found a publisher. In 2003, Knight was pushing out an underground novel that spoke to a generation of Muslim-American youth who had no cultural home. There were pot-smoking, praying, Qur’an-reading Muslims, who would edit out sections of the Qur’an because they were “wrong” and no one could explain the text to them. 

Playing with the Arabic word “taqwa” (God-consciousness) and the punk suffix “core,” Knight gave voice a segment of the Muslim-American community. He also earned the ire of large parts of the community who were in denial that these people existed, who felt their power threatened, or who could not deal with the confusion their decisions caused. 

Following is a roundtable discussion on the Taqwacore scene among Basim Usmani and Shahjehan Khan (both members of the band the Kominas), Kaitlin Foley (radio host and erstwhile Islam blogger), and myself.  

—Hussein Rashid

Q: When we consider that the contemporary Taqwacore scene was at least partly inspired by fiction, the fact that it exists in real life today becomes even more remarkable... How do you all think the fictional and virtual origins of Taqwacore have affected the development of the Taqwacore scene so far, and how might they influence its future development?

Basim Usmani: This is funny, originally I had conceived of an all-Desi punk band called the Kominas before I began jamming with Shahj and before I even knew who Mike Knight was. My impetus was the need to appropriate the cultures around me into something that could be my own. So I wouldn’t feel weird or self-conscious listening to, or reading, or exposing myself to non-Desi elements. I hated being graded for my Desi or Muslimness. The music was born out of frustration, because of dead-end jobs, no prospects, and a huge shadow cast over me from my parents that busted their balls to provide a life for me (which I still suck at). MMK’s work helped reconcile religion into the music, and really elaborated some of the beauty and iconoclasm inherent in Islam, which I wasn’t really comfortable writing about. I wanted a Punjabi Dropkick Murphys, Mike wanted a Qallandari Rancid. Thinking about it, I like the latter better as well. Everything begins as fiction in your head, mashing up concepts and understanding how ideas can fit is important. I think the use of the Internet, quick access to media played a part in that. Not MySpace...

Kaitlin Foley: ...I can’t say Mike Knight’s The Taqwacores was a genesis for me about Islam but it was an affirmation that self-publishing was a chance to throw out the rule book and create my own. I could play around with social media to find people and ask why a fictional punk scene fascinates kids then shared my own stories with Madison street punks. Some believed me, some didn’t care for hardcore. As far as conversations about TQ in the future, I hope they will be less about identity crises and big picture modern dilemmas and more on the actual music. Maybe the new sound should be deconstructed before social media tackles Islam, Taqwacore, and punk rock all at the same time.

Hussein Rashid: Thanks BU, for the clarification. I seem to recall meeting you and having this conversation before hearing about Mike Knight’s book, but it’s good to have that confirmation. I do think the aesthetic element of your work is often overlooked. One of my favorite tracks is “I Want a Handjob,” precisely because I think it has some of the qalandari element to it. It has reverence for the family of the Prophet, and includes elements of contemporary cultural references with a good dose of sexual language. Like a good South Asian or Persian lyric, it does not have to be devotional, but can incorporate those elements. Even prior to the emergence of Taqwacore I was hesitant to label things “Islamic.” It implies a level of religiosity that may not be present and obscures other intentions and meanings in the music. I much prefer Marshall Hodgson’s construction of “Islamicate,” for things that may be influenced by Islam, but are not necessarily religious. I am curious about KF’s point about identity crisis. I never heard your music in that way. To me, it is a declaration of the multiple identifications that make your identity. It is the opposite of a crisis; a resolution perhaps. SK you talk about being ten years older, but it is fast approaching that time since the music started. Do you think that time has made a difference?

BU: I think that’s a great observation, it isn’t identity crisis. Time has definitely made a difference in terms of being in a band and touring and actually meeting people that are interested in the music we play.

KF: Sure, HR, I’ll expand. What I meant by identity crisis was that Taqwacores resolved what I think is a normal teenage phase when they found people like themselves and some shared world in punk. Maybe BU would say his story would be a goth goes Taqwacore one instead but I think it’s the same either way around—that is, in the end it’s okay the stories are different and any message might evolve with new bands and music...

Q: ...Do you believe that TQ is having an impact outside of the United States? If so, what? Why do you think it is having an appeal? If not, why? Is it the music (the genre being very particular to the Anglophone world)? the underlying thought of treating “Muhammad as punk rocker?” 

BU: What an ignorant question. Anglophone world? Punk is ten times bigger in Kuala Lampur than it ever will be in the UK, France, or Germany. Or America. No, the reason for forming the Dead Bhuttos, and the rush to put a single online was to show, at least cosmetically, that Pakistan was as capable of putting out punk rock as Turkey, Malaysia, Japan, and Lebanon. The USA is good to sell obscure Malaysian and Japanese records in, but it’s not a good place to play this kind of music. We’d do much better in South Eastern Asia, which yes, we get a lot of traffic from online. Tons of people from Singapore, Malaysia, and Indonesia add us. We’ve been covered in the major Malaysian music magazine. I think it makes more sense for us to play in Malaysia then it does to play in Europe.

Shahjehan Khan: Many things remain to be seen, but I think it would be a mistake to deny that Mike’s book is having some kind of impact in the world. We get messages frequently from bands/kids/music lovers/thinkers worldwide asking us when we are coming to their neck of the woods. If I’m not mistaken, outside of the US, our Facebook pages’ popularity has Pakistan next in line. Omar’s documentary is currently screening in the UK, so I don’t think anyone is really sure (and I’m not exactly certain how one would quantify this) who is reading, who is listening etc…

HR: Ouch. You are right BU, my question and it was poorly worded. Clearly I know the the popularity of punk, amongst other genres, outside the Anglophone world. I think Mike’s book clearly speaks to a lot of people, but as fiction there is a comfortable level of distance. You are actually making the music, and that’s really the tension I want to explore. It’s one thing to utilize the genre, it’s another to inject it with themes related to Islam. I will be honest and say that I am surprised at how well your lyrical content is taken in Muslim majority countries. With respect to Pakistan, CNN did a piece on Pakistani metal. It seemed to be a highly artificial scene, almost staged for the cameras. The concert footage in Pakistan seemed more organic. What is your sense of the music scene in Pakistan? How does it compare to South East Asia, for example?

BU: There is a much bigger music industry in Malaysia than Pakistan in a traditional sense. Pakistan probably has a lot of money and publicity in its artists, and its more likely there will be press following Pakistani artists around—but thousands and thousands of people attend concerts in Kuala Lampur, and there is already a Malaysian scene for “Western” music, you’ll find Malay skinheads, punks, metalheads, and rappers. Pakistan is mostly a place for ballads, and bhangra.

Q: Assuming international impact, are we seeing transnational connections being made? For example, the UK Asian Underground, the US/Indian Asian Massive [as the MIDIval PunditZ consider themselves to be part of Asian Massive], and the Indian Cyber Mehfil groups are all in communication with one another and often work together on projects. Is there something similar with TQ emerging?

BU: Not yet, just some contact with British Asian geezers like Asian Dub Foundation, Fun Da Mental and Alien Kulture. There are Taqwacore groups in Scotland and London, but no one has contacted us to do a tour. Most of them discourage us about setting foot in Bradford lest we become the biggest pariahs since Salman fucking Rushdie.

SK: See BU.

HR: Isn’t every good qalandar a pariah?

BU: True.

Q: Much is being made of TQ, but heavy metal, if not punk, have been a part of the musical politics of the Arab World for some time (for example, see here). What is different about TQ that it is generating such interest? Is it their origin is in the “West?” Is it South Asian?

BU: It’s the West. The media is having a circle jerk over this idea at the time, because the notion of “Muslim punk” is sexy to them. The way the racist media sees it, they can put MMK in every story as the great white grandfather to this scene of confused, destructive Muslims who’ve turned around from their ‘opressive’ culture. There’s plenty of revolutionary South Asian hip-hop out there. Humble the Poet’s father is a Sikh cab driver, and he writes about working-class life in Toronto, and remembering the 1984 golden temple massacre in India. But instead, CBC TV, the biggest broadcaster in Canada comes to us to cover us. The reason? A white man started all of it. At the same time, the music has been the most underserviced aspect of all the media on us. News stories mention the same songs, and make no note of what they sounds like. They still leave Arjun out of their writeups because he has a Hindu name, and Shahjehan Khan, our guitarist, is constantly referred to as our lead singer.

KF: In response to BU: I think the best approach for getting lost in the message and media circus surrounding Islam is to look at Taqwacore objectively as traditional news does. And many journalists do, usually getting tripped up on the exotica of talking about religion in a public way. This isn’t just a Taqwacore-specific issue, or even one with Islam, but also one of those longstanding ethical dilemmas for reporters and editors—one that makes traditional journalists crazy private about debating the issue and expect to keep doing so until the end of time. Punks and journalists have one similarity in that they are careful outside their respective circles not to lose the reputation and influence they’ve earned. So, there’s a mutual attraction and tension in Taqwacore coverage that leads to what Basim called a circle jerk.

SK: [Essentially] the same story has been circulating for a while, and it is up to us to change it now, to be responsible with this media attention. I think that the next year will be the true test of what TQ is really all about (if anything more than a group of friends). One would hope that more bands are started, I think we would all agree on that.

HR: There seems to be a long history of immigrant South Asians writing resistive poetry in the US and England. As you point out, this poetry gets very little attention. Do you really think it’s about MMK? I do notice he gets mentioned a lot in articles about the Kominas, but all of you associate together quite a bit. Although I am conscious of the myth of a “white savior” in a lot of redemption narrative, what makes you think it’s not an two-fer for the reporter? You are with MMK, so she gets to write about you and him.

BU: It’s likely a two-fer as well. I’m grateful for the association—though the scene, and the people who attend the concerts should be covered more heavily.

Q: What is the gender dynamic of TQ? Much is made of Secret Trial Five to show the gender openness of TQ, but punk is a strongly gendered-biased genre. Is TQ inheriting the liabilities of punk and patriarchal interpretations of Islam?

BU: Yes. Girls come to watch the bands but don’t play in them. It’s too bad.

SK: I don’t think it has much to do with “patriarchal interpretations of Islam,” more just the ‘reality on the ground’ if you will. We have a very sizeable female presence at our shows, but as to why there aren’t more bands, I don’t know… It’s only really been 3-4 years! I would be willing to bet that there are more out there that don’t care to publicize themselves in the way that perhaps we have.

KF: I’d agree with SK that there are more Taqwacore artists who are women out there. There’s a couple in Australia, for example. You just have to look for them because as Shahj said, they’re not talking about Taqwacore all the time. Then you also have artists like Micropixie who are part of the scene even if they don’t exactly label themselves Taqwacore.

HR: SK, my concern is that without pushing the gendered divisions early Taqwacore can inherit a lot of cultural baggage that quickly comes to define the system.

Q: In the MSM, TQ is often positioned as “Islamic Punk,” or “Muslim Punk.” While members of TQ groups are from Muslim backgrounds, are these useful labels? Is the music Islamic or Islamicate? Does the distinction mean anything? That is, does their religious identification become their identity, regardless of their own feelings on the matter? If so, why does hip-hop not get the same treatment, which also emerges from an Islamicate background?

BU: “Muslim Punk” is an awful term. I don’t believe in an afterlife, or any existence after you breathe your last breath. I think the Qur’an is man-made. But I think all art is divine, and that we men have invented these gods and written all these books. In our lyrics, there is a lot of what could be considered blasphemous content. That’s because we own these gods. We are these gods. That is what taqwacore is for me. It’s self-consciousness. It’s knowledge of self.

SK: One can’t get deny The Taqwacores being a novel about “Muslim Punks.” In the first years of the Kominas, Islam was something that we felt like writing about, but so was a Pakistani earthquake (Rabyah), or a Bollywood-style train robbery (Dishoom Bebe). I think that the term “Muslim Punk” may have been accurate initially (I would disagree with BU’s characterization as ‘awful’, seeing as we all used/abused the term to some degree), but has become more of a burden as time has gone on. Any label is usually exclusionary, and artists usually hate them. I most certainly believe in an afterlife, and would call myself a Muslim.

HR: This question of blasphemous content is so interesting, because there is such a long history of these types of lyrics and approaches in Islamicate literature. Iqbal’s Jawab-e Shikwa, while not as direct as some of your lyrics, speaks in the voice of God. That’s blasphemy. The literature of the malamati, the Sufis who sought blame for themselves, is all blasphemous. It is very much part of the tradition, although the form may change. I’m not sure blasphemous content, from a devotional perspective, is really meaningful anymore. It is most assuredly not a marker of belief. However, your declaration of (un)belief is far more important, BU and SK.

BU: I think its fair to say we draw from poetry by Bulleh Shah, Waris Shah, and the Qur’an. There’s a lot of lyrics and music that appeal to me though.

Read the complete article here.

Friday, May 14, 2021

An interview with deaf Muslim punk playwirght Sabina England on being punk

This interview deals with more than punk rock, but for the sake of my research I only included the parts on punk rock.

The Deaf Muslim Punk Playwright: Interview with Sabina England

She writes plays, directs and acts in comedy mime skits, moshes in punk pits and reads lips. Sabina England is a 20-something Midwest girl that fits no typecast. I stumbled across Sabina on twitter as the @DeafMuslim when all Taqwacore scenesters would retweet her plays and videos. I was already curious about the Deaf Desi community since meeting a few in DC, but was even more intrigued after checking out her site, her comedy skits and reading the stories and plays on her blog. How could I not be? I sat down (virtually) for a fascinating interview where she talks about acting as Helen Keller in a high school play, to having a Mohawk and wearing hijab, to prejudices against the deaf community by fellow Desis.


...So let’s talk about another community – the punk one. I kinda want to ask what your favorite punk band was growing up but not sure if that’s appropriate…

I loved The Clash, the Sex Pistols, and X Ray Spex. I listened to music with my hearing aids, but I was more attracted to the lyrics, to the visual elements of punk culture and the punk politics and gender issues along with it. I can hear music okay, but I can’t really make out the words. For other punks, they were in it for the music. Not me. For me, going to shows, it’s more about socializing and being with my friends and meeting other people, having a good time and bonding. it’s not really about the music for me at all, you know?

I was always a feminist, and I think being a feminist pushed me into punk rock at an early age. I liked the anger and the “fuck you” attitude of punk rock. I loved the independence and fierce attitude of punk females like punk vocalists in all male bands.

Right…who were you favorite female punks?

I was never a girly girl and I never liked girly girls at all. Poly Styrene from X Ray Spex and Siouxsie and Beki Bondage. I was also in love with strong female characters in films, like Sarah Connor in Terminator 2 Judgment Day. I admired females in Hollywood such as Lucille Ball, who is still one of my biggest inspirations.

So did you have a lot of punk friends in England or the Midwest?

I got into punk rock when I lived in the Midwest. But as a child in England in the 80s and early 90s I had seen some punks around in London and other cities, and their style always attracted me. I knew it was something I wanted to be part of it.

And the Mohawk, when did that happen?

I had a Mohawk for 2 years, it wasn’t too long ago, about 3 years ago. It was cool, I’m gonna grow my hair long again so I can shave my sides and have a Mohawk again. It was so weird, though, I always got different reactions and treatments from people. So in a way, having a Mohawk taught me about people. I had hot pink hair once and my father was furious, he wouldn’t speak to me for 3 weeks. I told him to get over it. I can’t stand that patronizing bullshit from parents, especially Desi or Muslims. They are making judgmental remarks about people who dye their hair or get tattoos or wear revealing clothes. What the fuck does it matter to them? It’s their lives and their bodies, it doesn’t hurt anyone else.

I also used to wear hijab, too, you know. For about 3 years in the late 90s to early 2000s.

And then?

Well one day, I had a wake-up call from a goth girl who was sitting next to me. She was the only one in the entire college who was nice to me, while everyone else were extremely nasty toward me. I stared at her hair and her outfit and then I thought to myself, “what the fuck happened to me? I used to be a punk and now I’ve become this?” and then I realized how wearing the hijab is such an artificial thing to do. I don’t want to piss off any hijabis here. But I truly felt that wearing the hijab was a slap in the face for women’s individuality and their bodies. Someone once said that wearing hijab is saying “YES, we women are sex objects, so we HAVE to cover ourselves to protect ourselves from men’s lustful glances!”and when I sat next to the goth girl I thought about how some Muslims would call her a “whore” because she was wearing a short skirt. But she was such a nice girl. And I felt dirty. I felt like a hypocrite. I still wore hijab for 1 more year after that goth girl incident and then I took it off.

Read the full article here.

Deaf punk poet and filmaker Sabina England on punk culture and her experience and relationship with it

Sabina England talks about a lot more than just punk rock in this interview, and I recommend reading it. Quite fascinating. But for the sake of my research, I only included what she said about punk rock and punk culture here.

Deaf Punk Playwright/Poet, Sabina England, Lets it Loose!


Krip-Hop Nation (KHN) - Hello I’m so glad you said yes to an interview!  First of all your work is beautiful.  Tell us you call yourself a Deaf Muslim Punk Playwright please explains.

Sabina England - ...Anyway, just so we are clear, I didn’t originally call myself a Deaf Muslim Punk Playwright. A Pakistani Muslim teenager in Norway who had followed my works online and was an admirer created the name of my Facebook public page.

So I was surprised to see a page about myself on there, and I became friends with her, and she talked to me about the Islamophobia, racism, xenophobia in Norway that a lot of Muslims, both immigrants and European-born youths, faced from other people. She was drawn to my works, to my anger and political awareness in my art, to my struggle existing as a Deaf South Asian Muslim woman of color immigrant punk rocker in a hearing white man’s world.

Eventually I took over the Facebook page. I like the name of the Facebook page, because it helps shows the world that I am: Deaf, Muslim, Punk, and Playwright. I wanted deaf people out there to see my name come up in results for “deaf” and see that there’s a working deaf artist who has a career in theatre, filmmaking and playwriting, these fields which are very difficult for deaf people to break into. I also wanted Muslims to find me in search results and see that there’s a Muslim woman filmmaker / artist / performer. I wanted other Muslim women to find me and enjoy my works.

And I wanted the world-- whether hearing, deaf, non-Muslim, or Muslim, to see that I am not a stereotypical “deaf and dumb” girl, or that I was NOT a “helpless  / oppressed” Muslim girl who needed to be saved....

KHN – As an author you wrote and self-published your first novel, Urdustan (A Collection of Short Stories), a book of short stories about South Asians from all walks of life.  Why did you think this book is important and tell us why you end up self-publishing it?

Sabina England – The book has many short stories and features characters from different backgrounds. There are Hindus and Muslims, Indians and Pakistanis, punk rockers and deaf youths, Hasidic Jews and gay people. All the short stories were loosely inspired by true events in my life...

KHN - Your short videos are a mixture of politics, laughter, nature and such.  Please give us a brief rundown on “Allah Save the Punk!”...

Sabina England – I made “Allah Save the Punk!” because I wanted to do a light comedy with a storyline using both punk rockers and religious extremists from a Muslim punk rock perspective. Growing up in Northern England in the 1980s, I always liked punk rock and I was just drawn to the subculture for its sheer anger and energy, but also for its political awareness. I just wanted to have fun and make other Muslims laugh at ourselves. Humor is the best medicine! We all know that one person in our community who’s a self-righteous, holier-than-thou person, and I wanted to create a self-righteous character that is so full of themselves and so extreme in their beliefs. I created the Mullah, who was so religious and holy, but somehow ended up with a punk rock daughter. That’s pretty funny, right?!

Also the title “Allah Save the Punk!” was inspired from “God Save the Queen” by Sex Pistols...


KHN - On your website it says you are apart of S.O.S Records, an underground Los Angeles streetpunk label, and have often been linked to the Taqwacores scene.  Please explain.

Sabina England – I was a friend with Rob Chaos, the lead singer from Total Chaos, we became friends on MySpace in the mid 00s and stayed in touch. He liked some of my posts and liked my attitude so he asked me to be the face of S.O.S Records, they printed out promotional flyers with my face and put it up at punk shows everywhere! I was also asked to appear in Taqwacore (the documentary) and I said no because I had some problems at the time and I didn’t feel ready to do the project. So they used one of my photos (with my permission) and put it in the film. So ever since then a lot of people have associated me with both.

Read the whole interview here.

Thursday, May 13, 2021

Minnesota Historical Society's entry for punk boots in their Collections Department

This is just a small piece written for some punk boots in the Collections Department of the Minnesota Historical Society.

Collections Up Close: Punk Boots


Hello! I am Eleni Leventopoulos, one of the spring 2019 MNHS 3D Objects interns. A huge part of my internship was cataloging new acquisitions to the collection. There was such a wide array of objects, every day was a new discovery and challenge. One of my favorite finds was a pair of black leather punk boots worn by a Minnesota woman in the 1980s. The history of punk is fascinating and these boots help document Minneapolis’ place in that story by filling gaps in MNHS’ music collection.  With its roots in the 1960’s garage rock movement, punk was more than just music. It enveloped art, culture, fashion, literature and philosophy. Anarchism, nihilism, and even minimalism influenced and paved the way for punk.

While studying abroad in 1986, the donor purchased these boots from a shop on the famed Kings Road in London. Since the 1950’s, Kings Road had been the place for youth fashion. The 50’s saw miniskirts, the 60’s brought legends like Jimi Hendrix and the Beatles and by the 1970’s, the punk scene had moved in when Vivienne Westwood and Malcolm McLaren opened a shop at 430 King’s Road. Westwood is a well known British fashion designer who helped punk and new wave fashion enter the mainstream, while Malcolm McLaren was the promoter and manager for well known punk bands like the Sex Pistols and the New York Dolls.

Punk came to Minnesota with the New York Dolls in 1974 when they performed at the State Fair and spread the flames of punk to Minneapolis. Minnesota had embraced punk by 1979 when the Walker Art Center hosted Marathon '80: A New-No-Now Wave Festival at the U of M FieldHouse. Marketed as a “preview to Rock in the 80’s” M80 brought punk talent to attention.

“It was a rickety venue, but with all the assembled talent and excitement surrounding each band’s performance, [M-80] felt like something historic was happening...In my mind, it was equal to Woodstock or Altamont or the Beatles at Shea Stadium. There was a great scene building in the Twin Cities.” - Bob Mould of Hüsker Dü, from his memoir See a Little Light: The Trail of Rage and Melody

When the owner returned to Minneapolis in 1987, influential punk bands like the Suicide Commandos, the Suburbs, The Replacements, Husker Du, Babes in Toyland, and the Flamin’ Oh’s had formed in Minnesota. Punk had already splintered shot off into many directions, evolving to other sounds like harcore, ska punk, psychobilly, and new wave.

Popular punk hang outs in Minneapolis included Jay’s Longhorn, a club in downtown Minneapolis, the record shop Oar Folkjokeopus and CC Tap at Lyndale and 26th, Goofy’s Upper Deck, and of course, First Avenue and 7th Street Entry. It was here that the fashion of punk could be seen. Champions of the ‘do-it-yourself’ mentality, punks made and altered their own clothes. Punk fashion has evolved depending on the time and place, seeing influence of glam rock, skater touches, transformation into new wave and embracing androgney. Staple items of punk fashion included jeans and black leather jackets. These were decorated and personalized with pins, patches, paint, safety pins, spikes and studs. When the donor wore these boots around Minneapolis she would have fit right in...

See the original piece here.

Frank Zappa quotes about music

Music is the only religion that delivers the goods. 

(Music) fulfills a social function. It's like wallpaper to your lifestyle. It defines what you are.



Punk's Not Dead