They’re young. They’re punk. And they’re rocking both their Muslim and American worlds with their music, lyrics and style.

"A lot of times people say, ‘Oh wow, look, brown people playing music’ [but] it’s more than that," said 25-year-old Pakistani-American Shahjehan Khan, the lead singer for a Muslim punk band, The Kominas.

The Boston-based band is one of a handful of Muslim punk bands that emerged in the United States in the past few years.

The members of this four-person rock group with South Asian roots hold varying views on religion. One says he’s an atheist; three others identify as Muslims — both practicing and non-practicing. For them, punk music is a way to rebel against their conservative cultural upbringing and the frustrations of growing up a young Muslim in America.

"We aren’t [just] some alternative to a stereotypical Muslim. We actually might be offering some sort of insights for people at large about religion, about the world," said 26-year-old bassist Basim Usmani.

Blending traditional South Asian rhythms with punk rock beats, they sing in both English and Punjabi. (Kominas means "scum-bag" in Punjabi, according to the band.) Their songs can be at once political, serious, satirical and insinuating.

Their risqué lyrics and provocative song titles such as "Sharia Law in the USA," "Suicide Bomb the GAP" and "Rumi was a Homo" — a protest song against homophobia in the American Muslim community — have drawn the attention of Muslims, non-Muslims, fans and critics alike.

"You sort of have to throw it in peoples’ faces and be shocking in order to give people a different way to think about stuff," said Usmani.

"These punk, metal and rap scenes - so-called extreme music scenes — are addressing issues that mainstream music doesn’t," said Mark LeVine, a professor of Middle Eastern history at University of California, Irvine, who is also a musician and author of "Heavy Metal Islam."

"[Punk] allows them to rebel against society and their own culture at the same time," he said.

Before the Islamic punk movement in North America had a voice, it had a story. The Muslim punk scene began to gel in 2003 when novelist and convert to Islam, Michael Muhammad Knight self-published his book, "The Taqwacores" about a fictional Muslim punk scene in Buffalo, New York.

The book opens with a poem called "Muhammed was a Punk Rocker" and describes both conventional and unconventional characters including a Shi’ite skinhead, a conservative Sunni Muslim, a burka-wearing feminist punk and a Sufi who sports a Mohawk and drinks alcohol.

"The punk rock kids I would hang out with weren’t even Muslim," 31-year old Knight recalls. "They were so fiercely individualistic — I wish that I could be a Muslim in that way: not be ashamed of my confusion, not be ashamed of my doubts. Just be myself and be proud of who I am."

The novel’s title, "Taqwacore," is a hybrid word stemming from the Arabic "taqwa," meaning "god consciousness," and "core" referring to "hardcore" — a genre of punk music. It’s now a general term for Muslim punk rock.

The popularity of the book, which Knight said was born out of a search to find his identity as a Muslim-American, grew in underground youth circles and online.

It didn’t take long before real-life "taqwacore" bands like The Kominas began blooming across the country.

"It makes sense why punk has been the music of choice for young, politically active Muslims who are musical," said LeVine. "The straight edge movement in punk which was about no drugs, no alcohol, was clean yet very intense and political. It’s a way for them to rebel against their families in some extreme ways yet still be ritualistically, ‘good Muslims.’ "

"Taqwacore" gave voice to many young Muslim-Americans who felt muted by circumstances and created an opening for bands like Al-Thawra, Vote Hezbollah, and Secret Trial Five — an all-girl punk band out of Vancouver, Canada.

In the summer of 2007, five of the taqwacore bands organized a "taqwa-tour" of the northeastern United States. They played in city after city, traveling in a green school bus with TAQWA painted on the front bought by Knight for $2,000 on eBay.

This summer, The Kominas continue to strike a chord with audiences around the country, hitting cities from San Francisco to New York on a multi-city tour.

The taqwacore movement has also inspired two upcoming films - a dramatic feature film based on the book and a documentary.

Many conservative Muslims may peg young taqwacores as heretic for their suggestive and irreverent lyrics. But the musicians say they are just trying to show both cultures how broad the spectrum of belief can be.

Like many young adults balancing their religious beliefs with American culture, some young Muslims in the United States say it’s a constant struggle to be accepted in both worlds.

"I had a lot of conflicted feelings growing up a Muslim in America," said 25-year-old Kominas drummer Imran Malik. "It was hard not being able to do the same things that everyone else around you is doing without feeling guilty about them."

Knight, who grew up with a Catholic mother and white supremacist father, converted to Islam when he was 16. He said his message is not one of blasphemy but rather an extension of his discontent with the rigid etiquette that dictates certain practices within Islam and the stereotypes of Muslims in American.

"Muslims haven’t been fully accepted as Americans but the American experience hasn’t been accepted as something that can contribute to the Muslim world," said Knight.

Knight said writing the book helped him and others connect through shared experiences.

"When I first wrote it, I felt like there would never be a place for me in the Muslim community and that has really turned around a lot," he said. "The book gave me the community I needed, it connected me to all these kids that were also confused and who also went through the things that I went through."

That connection is vital to taqwacore music, bassist Usmani said.

"The music is great, but the conversation is the key to all of this. The dialogue that we have inspired is really invaluable."

"I don’t think Islam is ever going to go away, I’m just trying to see how it best fits in my life."

Former Bad Boy artist Loon has made a declaration to change Hip-Hop following his conversion to orthodox Islam.

While reports surfaced last year of Loon’s (now named Amir Junaid Muhadith) conversion, the Harlem rapper recently made a public declaration on Al Jazeera, the sole independent news network stationed in the Middle East.

“Loon is working his way out of my system,” Loon stated, while sporting traditional Islam garb. “[I’m] happy to be accepting Islam, and finding the peace of mind I was always searching for in the music business…Thanks to Islam I was able to complete my search and now I’m very much at peace. Bad Boy days are over, I’m now what you call a good boy.”

Loon was a staple of the late 90s, early millennium Bad Boy roster. The Harlemite was most prominently featured on the hit singles “I Need a Girl, Part 1 & 2.”

When asked if he will continue to rap, Loon referenced the importance of being spiritually grounded before making that decision, as the media will be cognizant of any contradictory actions.

“Right now I’m focusing on studying Islam and becoming more knowledgeable of the deen (Islamic way of life),” Loon explained. “Being in the position of influence, I have to be able to protect myself. The media sometimes tries to use these transitions that artists make as an opportunity to make a mockery of Islam, or whatever faith a person might choose…But Allah knows best, maybe I will [return to rap].”

Acknowledging that mainstream Hip-Hop currently has a very low spiritual component, Loon asserts that it is a challenge to all artists who follow religious tenets.

“That’s something that all of us artists that have accepted Islam struggle with, because it’s a very fine line,” Loon said. “With me I really love the music, but it’s the lifestyle that’s really the bad influence. The music can be geared towards things that influence people to do positive things. But the actual part that detours people from practicing their faith or concentrating on positive things is the lifestyle.”

Last year, T-Pain, Akon, Busta Rhymes and others raised the ire of the Muslim world with their remix of “Arab Money,” which featured Qur’anic scripture over music.
This action is considered blasphemy in Islam, and forced the artists to remove the remix from rotation.

As a potential Islamic artist, Loon is aware of this issue and is considering the safer avenue of spoken word.

“The mass audience that we reach as artists are particularly in the club. So to have people in the club actually reciting ayahs (verses) or things that pertain to Islam would kind of give the wrong impression,” Loon detailed. “Spoken word is something I’ve been focusing on. I do have the lyrical ability to establish a lot of things that make Islam so beautiful. But it’s very hard to walk that fine line when you have music in the background that plays a role as dance rhythm or something that may mislead a person from the message we’re trying to give.”

Loon is the second Harlem rapper, following former friend Mase, to leave Hip-Hop due to spiritual enlightenment.

Loon’s last LP was a 2007 joint project with fellow Bad Boy alum G-Dep, entitled Bad Boy.

The show is part of the Under One Roof project, an interfaith house-building collaboration by Tacoma-Pierce County Habitat for Humanity, One Nation, Church of the Indian Fellowship and the Russell Family Foundation. Other projects include an interfaith seder last April and a July salmon bake led by the Church of the Indian Fellowship in Puyallup.

This month, the theme is laughter. Bob Alper, a rabbi from Vermont, and Chicago-based Muslim Azhar Usman have been doing stand-up comedy together for four years, appearing on CBC and CNN and touring internationally. They’re joined by the Rev. Susan Sparks, a New York Baptist preacher and lawyer who does comedy in her own right. Alper and Sparks spoke with The News Tribune about the show.

How did you three get together?

Alper: About four years ago, the Muslim comedian I was working with went into movies. So I Googled “Muslim comedian” to find another partner. I came up with Azhar. We’ve done 50 shows together now.

Sparks: I’ve known Bob for nine years – we met while I was in seminary. I was doing stand-up comedy at the time, and found him on the Web. I was shocked – a rabbi doing stand-up? He invited me to do a show with him. Bob and Azhar work as a team a lot, so every so often, I’ll step in and be the Christian chick. I love working with them.

How do you divide the show?

Alper: It’s primarily tag-team comedy. Susan is the emcee, and has a set of her own. Comedians are lone wolves.

Sparks: We also have a Q&A at the end.

Even just the concept – a rabbi, a Muslim and a woman Baptist preacher – sounds like the start of a joke. Does it go beyond that?

Sparks: We each deliver the same message from our own perspective, that we’re all one. I’m a Southerner in New York, with all that baggage; Bob’s got the Jewish perspective; Azhar has an edgy perspective of life in America as a Muslim man. We can find unity in the world despite our differences. It gets people laughing together.

Alper: We call it “edutainment.” There’s a lot of breaking-down of stereotypes. When a community sees people as “other,” nothing’s better than to see a member of that people as warm, affable and funny. It’s pretty hard to maintain negative stereotypes then. When people laugh together, they can’t hate.

Do you talk religion between the three of you?

Alper: We enjoy discussing faith, but neither is trying to convert the other.

So who’s the funniest – Christians, Muslims or Jews?

Alper: Jews. We have a long tradition of humor. Muslims and Christians are funny partly because they’re going against type. But there’s a reason that overwhelming numbers of comedians are Jewish. It’s in our DNA.

Sparks: By far, not Christians! We are the losers hands down. I’m trying desperately to help my people, but … And between Bob and Azhar, it’s a tie.

The credit to this idea goes to George Russell of Russell Investments who was concerned about American’s misconceptions toward Muslims and Islam and the general fear surrounding them after 9/11. He also became concerned about corporate America at the time and thus began One Nation, a non-profit organization that promotes opportunities for various religious and ethnic groups to get together to complete urban projects while simultaneously learning from one another. Together with the Russell Family Foundation, Church of Indian Fellowship and Habitat for Humanity, One Nation helps needy communities jump the hurdles to understanding and communication.

Under One Roof: The Interfaith Build is a project that was started by a steering committee composed of individuals from these contributing organizations, and it cleverly sums up its mission in its name – people with differing beliefs living together under one roof.

As Jill Henly, director of development and communication for Tacoma/Pierce County Habitat For Humanity affirms, her organization allowed for this project to get rolling. “Habitat was the vehicle, as it was a simple concept in terms of building a home and bringing people in from the local community. Muslims, Jews, Christians, Buddhists and beyond will work on a project side by side, learn about one another, ask questions, and will start laying ground to break down barriers if there are any.”

The concept behind putting together a comedy show for this effort came as a result of a simple fact: laughter is the great equalizer. “The genesis behind the show is the old joke about a rabbi and a Muslim lawyer. The three comedians in the show have been doing this for some time. They took that joke literally. By making fun of themselves, they address stereotypical ideas (of their faiths) to educate people while they’re laughing,” Henly affirmed. This opportunity acts not only as a way to educate people outside of a classroom, but also is a fundraiser for the house that benefits interfaith connections.

The comics performing at the event all have been practicing their acts for some time and are internationally renowned. Rabbi Bob Alper acknowledges the fact that he is “the world’s only practicing clergyman doing stand-up comedy – intentionally.” He has led congregations for 14 years and is an ordained rabbi who has been doing stand-up for 20 years.

Azhar Usman is the son of Muslim immigrants from India and is based in Chicago. He studied to be an attorney but has been a comic for years. Usman was recently featured in the film “Allah Made Me Funny: Live in Concert.”

Rev. Susan Sparks became an ordained minister after training as a trial lawyer then becoming a stand-up comedian. She is the senior pastor of Madison Avenue Baptist Church in New York City, and was the first woman pastor there. She has been featured on CNN, PBS and ABC.

No matter one’s religious beliefs or lack of them, anyone can get something out of this family-friendly fun evening that is also raising funds for a wonderful cause. All proceeds raised by the event will go towards Under One Roof.

Forums that allow individuals to talk openly and honestly in a humorous way about these topics seldom happen, so this is a great chance to experience it, said Judith Jones of Pilgrim Spirit Communications. “This is really a unique event. People don’t often have the opportunity to explore religious issues from a comedic standpoint.”

The Interfaith Comedy show will take place on June 7 at 7 p.m. at Urban Grace – The Downtown Church, located at 902 Market St. Tickets are $15 for adults, $10 for students/military/seniors and group discounts may apply. You may purchase them at Habitat for Humanity, 1001 N. ‘J’ St., or at Temple Beth El, 5975 S. 12th St.

When Khalil is not working on his music, he is working for the community or building his business. He does nonprofit consultant work for a women’s homeless shelter. He is also a mixing engineer and producer. His aspirations are to create a new kind of record label specifically servicing independent artists who have a message. He also moonlights as a video editor and eventually plans to produce documentary and film that much like his music, invoke thought and insight into truth.

• Download Music

Zain Bhikha joined with friends Abdul Malik, Khalil Ismail L Debois and Mellow Mark to create a song for the struggles in Palestine. Visit www.freedomwillcome.com for free downloads. Video produced by Daze Studios.

Born August 9, 1974 in Pretoria, South Africa, Zain Bhikha is a Muslim singer-songwriter who has achieved international fame for his nasheed songs. He has collaborated with other Muslim artists including Yusuf Islam, Dawud Wharnsby Ali and Sami Yusuf.

His songs contain religious themes sung in a sweet and gentle voice. Bhikha has done an album entitled ‘A Way of Life’, containing Islamic songs, mostly in English which cover the various tenets of Muslim faith. The album became a milestone in Bhikha’s life and musical career. ‘Our World’ was a cry of protest against the war on Iraq and other atrocities committed in the world. “There is no excuse for the death of innocent civilians. The war was not justified because the US had ulterior motives such as oil,” said Bhikha. His nasheeds are primarily meant to promote Islam and clear the misconceptions about the glorious religion.

Following is the text of the interview Ismail Salami has conducted with Zain Bhikha.

Q: What do you think is the function of music in the modern world?

A: As-Salaam-u-Alaikum. Thank you so much for this interview. It is an honour for me to be able to reach out to the people of Iran.

Music is such a powerful tool to reach, engage and influence the minds of people across all countries and religions. Music also plays a very important part in the lives of young people and that’s why, it needs to be used responsibly, in trying to promote the best of messages…and the best message is the message of Peace. As Muslims, that is our duty to be spreading peace, using all mediums, including music.

Q: Could you please tell us a bit about your cooperation with Yusuf Islam? Have you ever worked on any project with Sami Yusuf?

A: My relationship with Brother Yusuf started in 1999 when he invited me to record with him in London. He remains a great mentor and teacher to me and I am always indebted to him for giving me the opportunity to learn and work with him. He also gave me great exposure throughout the world. I have performed with Sami Yusuf many times over the years and have great respect for his work and talent. He remains a very good personal friend and we confide in each other a lot. I also respect what he has done for the English Nasheed Genre throughout the world.

Q: Many hold that music is forbidden in Islam. How do you differentiate your music from the one forbidden in Islam?

A: Well, there are many different opinions on the use of music and I believe that it is greatly based on the message of the song and the intention behind the lyrics. The best songs are ones that bring the listener closer to Allah…and thus far, I have done all of my songs very simply with voice and drums…Allah required us to make a small effort and He does the rest…I only pray that my songs inspire all towards Him.

Q: When I first listened to your song ‘Allah knows’ I felt extremely elated. I personally believe many of your songs can easily bring people closer to God. What is this element in your music that can have such powerful influence on the listeners?

A: I would like to think that it’s the fact that I write most of my own songs based on what I feel and experience. I really believe in what I am saying and always pray that Allah inspires all those who listen towards something that is good. Intention is very important and it is always good to sing from the heart.

Q: The theme of “Our World” is peace. Could you please explain to our readers what motivated you to do this album?

A: So much has been happening in the world over the last few years and sometimes, as ordinary people, we feel quite helpless. I then realized that Allah is in control of all things and if we can’t change anything with our hands, we should at least use our voices and then pray for the positive change to come. That is how I wanted to make a difference to the world in my own small way. As you will see, most of my songs contain a message of striving for peace.

Q: What do you think is the solution to the dilemma and confusion of modern man?

A: Recognizing and acknowledging a greater power…Allah. He is our provider and sustainer. We as human beings think of ourselves as self sufficient and in control but it is Allah that has all control. Also, then recognizing that this life is but a short journey and that we will die one day and return to Him to account for our actions. Knowing this, will hopefully help us all to strive to do better and make this world better…for all!

Q: Could you please tell us about your new album?

A: My new album to be released in July 2009 is entitled “1415 The Beginning” and is a testimony to 15 years of singing spiritually enlightening songs. I have a lot of new songs that will Insha-Allah inspire the hearts as well as older ones that have been re-recorded. There’s also a new single entitled Freedom will Come, focusing on the plight of the Palestinian people, go to www.freedomwillcome.com. 

Brother Zain, thank you very much for the generous time you gave us.

The two men put differences aside to perform together with a common goal of bringing peace and unity to a mixed audience by what they do best: making them laugh.

Scott Blakeman, who is known for the integration of his witty political commentaries with Jewish humor, has been recognized by NBC as “the top political comedian working in New York today.”

Blakeman performs regularly on National Public Radio, but has traveled around the world for his standup comedy acts, according to the Huffington Post, including the Edinburgh Fringe Festival in Scotland and the Jewish Historical Museum in Amsterdam.

Blakeman’s Palestinian-American counterpart, Dean Obeidallah comes from a multiracial background with an Italian-American mother and a Palestinian father. He is recognized as a prominent Middle Eastern-American comedian who dispels negative stereotypes associated with Middle Eastern-Americans. He was awarded the first annual Bill Hicks Spirit Award in honor of the late Bill Hicks, who fused political and social commentaries with humor.

Before he joined Blakeman, Obeidallah used to perform in a one-man show titled I Come in Peace, which showed the reflection of his identity as an Arab-American living in a post-9/11 America.

Blakeman and Obeidallah came together in June 2002 after performing to benefit Seeds of Peace, an international youth organization that promotes reconciliation and empowerment. Since the establishment of Standup for Peace, they have performed at temples, Jewish and Arab-American Community Centers, colleges and theaters.

“We were not only happy that Arabs and Jews were sharing the stage for a great cause, but also because Palestinians, Israelis, Arab-Americans and Jewish-Americans were sitting side by side in the audience laughing together,” Obeidallah said, according to the Standup for Peace Web site.

Blakeman added, “Just by standing on stage together, and bringing Arabs and Jews together in the audience, we’re making more progress than they are right now in the Middle East.”

There is nothing typical about Jorge Pabon. He may be a hip-hop D.J. and dancer from the mean streets of Spanish Harlem, but he keeps the lyrics clean and women dancers at arm’s length.

As a teenager he emerged on the scene as PopMaster Fabel. But today he prefers to be called Shukriy, “the thankful one” — the name he took 20 years ago when he converted to Islam.

Now he is part of an “Islam and Hip-Hop” movement in the United States that is reaching out to Muslim young people via the hip-hop beat.

At a recent “Islam and Hip-Hop” concert in Harlem, young men in wide trousers and women in head scarves made waves in the air, trying to simulate Shukriy’s robotic movements. They did not touch each other unless they were a married couple.

Shukriy, 43, has come under fire from conservative Muslims who accuse him of sinning by dancing on stage with women or acting as D.J. for a mixed audience. Some argue that even listening to music is a taboo in Islam.

He dismisses such critics as the “haram police,” using the Arabic word for sin or taboo.

“I think it is absurd that some of the ultra-orthodox Muslims don’t see the chance of using hip-hop to extend the religion,” he said. “Hip-hop is the voice of the youth.”

He added: “I think, if you don’t like to see these things, then don’t come to the show. Allah will judge me.”

Rami Nashashibi, executive director of the Intercity Muslim Action Network, a nonprofit community organization in Chicago, said hip-hop of the kind practiced by Shukriy was becoming a global phenomenon among young Muslims, despite the critics.

“Hip-hop has become a space where young Muslims can express themselves and not feel like an alien, but feel respected,” said Mr. Nashashibi, who has taught courses on hip-hop and Islam at the University of Chicago. People like Shukriy “are the reason Muslims have been so respected within hip-hop.”

He added: “He was part of the hip-hop movement from the beginning. He is a very proud Muslim and a proud Puerto Rican.”

Shukriy turned to Islam after a career odyssey that took him from street corners around Times Square, where he danced for coins as a youth, to dazzling cities around the world as a professional dancer and hip-hop choreographer.

His résumé includes prizes like the Bessie Award for choreography in 1991 and the VH1 Hip Hop Honors in 2004. But with fame, he experienced misfortune.

“One day you walk on the Champs-Élysées,” he mused, “and the next day you find yourself on 123rd Street in Spanish Harlem with junkies.”

He said he has faced discrimination in his career, both because of his Puerto Rican background and as a Muslim.

Still, he said, “I am thankful for lots of things, but especially that Allah has showed me the right way for my life — and therefore my name is Shukriy.”

But at first his name was Jorge. He was born into a Catholic family in Spanish Harlem. His father left when he was 4 years old and his mother worked three jobs to support the family.

Like most Puerto Rican families then, they were quite religious. He went to Catholic school and to church every Sunday. But music and dance were also part of the culture, especially salsa.

“My twin brother, our two older sisters and I listened to music day and night, and we would all dance together,” he said. “It is in our blood, you know.”

As a teenager he lost the family’s passion for religion but not for music. “I started to hang out with other people from Spanish Harlem — it was a gang environment,” he said. They danced on the streets, tried new moves and had small competitions.

Then in 1980, he and a couple of his friends choose the corner of 42nd Street and Broadway as their stage. Large groups would gather to watch them perform. “Then some club owners came and asked us to dance in their places for money. And this was the start.”

He danced in the 1984 movie “Beat Street,” now a hip-hop classic. That led him to the stage of the Kennedy Center in Washington. In 1986 he was the first American hip-hop dancer to perform in Cuba. “The career developed so fast that I couldn’t believe it,” he said.

With other hip-hop dancers, he performed around the United States and in Berlin and Paris. But in the late 1980s, the film and music industries lost interest in hip-hop. The international assignments stopped and he fell into a depression. “From 1988 until 1989 I worked in galleries and a bicycle shop,” he said. He drank a lot, fought and nearly lost his bearings.

Two friends, also dancers, warned him that he risked throwing his life away. They started telling him about Islam, but he was not interested in religion. Still, when one of them gave him the Koran, Shukriy promised to read it.

“My plan was to prove them wrong, but actually the words touched my heart,” he said. Within a couple of days he became a Muslim. It was 1989.

When his family learned that he had converted, their reaction was “not good,” he said. His oldest sister broke off contact with him. His mother “thought I had stopped believing in God,” he said, until he bought her a Koran in Spanish and she read it.

He started to question many of the things he had done in his life. He stopped drinking alcohol and eating pork. But though he altered his behavior, he never changed his look: a long ponytail and a trimmed beard.

His focus today is teaching as an adjunct professor at New York University and in the Muslim community.

“I like to teach kids of all faiths as a tool for self-empowerment, cultural consciousness and an emotional and physical outlet,” he said. Lots of younger Muslims are fed up with politics and were especially troubled by the Israeli assault on Gaza. He sees dancing as a way for them to express their frustration.

He still performs at concerts and festivals, some of which he organizes with his wife, Aziza, who also converted to Islam.

“There are different ways of making a move in a dance,” he said. “And sometimes it is the same with religion. People have different interpretations and different ways to call people to Islam. I chose music.”