The connection between popular culture and religion is an enduring part of American life. With seventy-five percent new content, the third edition of this multifaceted and popular collection has been revised and updated throughout to provide greater religious diversity in its topics and address critical developments in the study of religion and popular culture. Ideal for classroom use, this expanded volume gives increased attention to the implications of digital culture and the increasingly interactive quality of popular culture provides a framework to help students understand and appreciate the work in diverse fields, methods, and perspectives contains an updated introduction, discussion questions, and other instructional tools

Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim. With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

Interviews with young Muslims in Chicago explore the complexity of identities formed at the crossroads of Islam and hip hop This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, “Muslim Cool.” Muslim Cool is a way of being an American Muslim—displayed in ideas, dress, social activism in the ’hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between “Black” and “Muslim.” Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are “foreign” to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested—critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.

There has never been an America without Muslims--so begins Amir Hussain, one of the most important scholars and teachers of Islam in America. Hussain, who is himself an American Muslim, contends that Muslims played an essential role in the creation and cultivation of the United States. Memories of 9/11 and the rise of global terrorism fuel concerns about American Muslims. The fear of American Muslims in part stems from the stereotype that all followers of Islam are violent extremists who want to overturn the American way of life. Inherent to this stereotype is the popular misconception that Islam is a new religion to America. In Muslims and the Making of America Hussain directly addresses both of these stereotypes. Far from undermining America, Islam and American Muslims have been, and continue to be, important threads in the fabric of American life. Hussain chronicles the history of Islam in America to underscore the valuable cultural influence of Muslims on American life. He then rivets attention on music, sports, and culture as key areas in which Muslims have shaped and transformed American identity. America, Hussain concludes, would not exist as it does today without the essential contributions made by its Muslim citizens. --J. Ryan Parker "The Midwest Book Review"

This groundbreaking study examines Muslim female superheroes within a matrix of Islamic theology, feminism, and contemporary political discourse. Through a close reading of texts including Ms. Marvel, Qahera, and The 99, Sophia Rose Arjana argues that these powerful and iconic characters reflect independence and agency, reflecting the diverse lives of Muslim girls and women in the world today.

After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of “the enemy” during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as “simplified complex representations.” This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a “positive” representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as The Practice, 24, Law and Order, NYPD Blue, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.

"Four american moslem ladies": early U.S. Muslim women in the Ahmadiyya Movement in Islam, 1920-1923 -- Insurgent domesticity: race and gender in representations of NOI Muslim women during the Cold War era -- Garments for one another: Islam and marriage in the lives of Betty Shabazz and Dakota Staton -- Chadors, feminists, terror: constructing a U.S. American discourse of the veil -- A third language: Muslim feminism in Smerica -- Conclusion: Soul Flower Farm

Islam is a religion but there are also popular cultures of Islam that are mass mediated, commercialized, pleasure-filled, humorous, and representative of large segments of society. This book illuminates how Muslims (and non-Muslims) in Indonesia and Malaysia make sense of their lives within an increasingly pervasive, popular culture of Islamic images, texts, film, songs, and narratives.

Offering readers an engaging, accessible, and balanced account of the contributions of American Muslims to the contemporary United States, this important book serves to clarify misrepresentations and misunderstandings regarding Muslim Americans and Islam. Unfortunately, American mass media representations of Muslims--whether in news or entertainment--are typically negative and one-dimensional. As a result, Muslims are frequently viewed negatively by those with minimal knowledge of Islam in America. This accessible two-volume work will help readers to construct an accurate framework for understanding the presence and depictions of Muslims in American society. These volumes discuss a uniquely broad array of key topics in American popular culture, including jihad and jihadis; the hejab, veil, and burka; Islamophobia; Oriental despots; Arabs; Muslims in the media; and mosque burnings. Muslims and American Popular Culture offers more than 40 chapters that serve to debunk the overwhelmingly negative associations of Islam in American popular culture and illustrate the tremendous contributions of Muslims to the United States across an extended historical period. Identifies the contributions of Muslims to American fiction, poetry, music, food, architecture, and other cultural forms to document the breadth of their contributions Highlights the ways in which Muslims have been, and continue to be, routinely depicted negatively in American literature, film, and religious discourse, and documents the potential effects that such depictions can have on individual Muslims and their communities Offers readers useful tools that allow them to apply a critical eye to the representations of Muslims in the news

A compelling portrait of a group of boys as they navigate the complexities of being both American teenagers and good Muslims This book provides a uniquely personal look at the social worlds of a group of young male friends as they navigate the complexities of growing up Muslim in America. Drawing on three and a half years of intensive fieldwork in and around a large urban mosque, John O’Brien offers a compelling portrait of typical Muslim American teenage boys concerned with typical teenage issues—girlfriends, school, parents, being cool—yet who are also expected to be good, practicing Muslims who don’t date before marriage, who avoid vulgar popular culture, and who never miss their prayers. Many Americans unfamiliar with Islam or Muslims see young men like these as potential ISIS recruits. But neither militant Islamism nor Islamophobia is the main concern of these boys, who are focused instead on juggling the competing cultural demands that frame their everyday lives. O’Brien illuminates how they work together to manage their “culturally contested lives” through subtle and innovative strategies—such as listening to profane hip-hop music in acceptably “Islamic” ways, professing individualism to cast their participation in communal religious obligations as more acceptably American, dating young Muslim women in ambiguous ways that intentionally complicate adjudications of Islamic permissibility, and presenting a “low-key Islam” in public in order to project a Muslim identity without drawing unwanted attention. Closely following these boys as they move through their teen years together, Keeping It Halal sheds light on their strategic efforts to manage their day-to-day cultural dilemmas as they devise novel and dynamic modes of Muslim American identity in a new and changing America.