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.Diouf, Servants of Allah: African Muslims Enslaved in the Americas (New York:New York University Press, 1998).5.Gomez, Exchanging Our Country Marks, 79.For a fuller account, Gomezrefers to William S.McFeely, Frederick Douglass (New York: Norton, 1991).6.Diouf, Servants of Allah, 200.248 notes to pages 5 107.For cultures in which scriptures are chanted or rhythmically preached, as in manyBlack churches, the influence of religious practice on popular music is quite conceivable.This is particularly the case when we consider how a number of Blacks began singing inchurch and became popular artists who appropriated religious elements, such as RayCharles.For example, see Teresa L.Reed, The Holy Profane: Religion in Black Popular Music(Lexington: University Press of Kentucky, 2003).For the connection between West Africaand the blues, see Paul Oliver, Savannah Syncopators: African Retentions in the Blues (NewYork: Stein and Day, 1970); Gerhard Kubik, Africa and the Blues (Jackson: University Pressof Mississippi, 1999); Ronald Radano and Philip V.Bohlman, eds., Music and the RacialImagination (Chicago: University of Chicago Press, 2000).For the link between Islam andthe blues, see Fatima El Shibli, Islam and the Blues, Souls 9:2 (2007): 162 170; JonathanCuriel, Al America: Travels through America s Arab and Islamic Roots (New York: NewPress, 2008).8.LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America (NewYork: Perennial, 1999 [1963]), ix.9.Cornel West, Hope on a Tightrope: Words & Wisdom (Carlsbad, Calif.: SmileyBooks,2008), 114.10.Ellison, Richard Wright s Blues, 199.Cornel West would refer to this Black senseof resilience as a tragicomic blues or the ability to laugh and retain a sense of life s joy topreserve hope even while staring in the face of hate and hypocrisy. See Cornel West, Democ-racy Matters: Winning the Fight against Imperialism (New York: Penguin Books, 2004), 16, 21.11.The announcement Sadaqa Jara is based on a prophetic tradition in Islam, whichrefers to the Arabic phrase sadaqa jaariya, or the kind of charity that reaps heavenly rewardslong after one dies.12.Based on a strict interpretation of an Islamic tradition, it appears that Muslims havebeen urged not to clap in applause the way pre-Islamic Arabs would do in praise of theiridols.Snapping the fingers is a compromise.It is interesting to note that snapping for ap-plause is also done by audiences at poetry performances.However, I am not aware of anyconnection or of how this practice started.13.See also El Shibli, Islam and the Blues, 165 168; Curiel, Al America, 26 27.More-over, Dick Weissman mentions several reasons the blues have become popular: (1) guitarstyles, referring to the voice as an instrument in Islam, (2) soulfulness of singing, and (3)expressiveness of lyrics.But more specifically, Islam or Arabic culture, he argues, contrib-uted vocal shakes and vibrato and the lengthening of particular notes, which are bothheard in the athan (call to prayer) five times daily and in Qur anic recitation.See Dick Weiss-man, Blues: The Basics (New York: Routledge, 2005), 1, 10.14.Sue Monk Kidd, Firstlight: Early Inspirational Writings (New York: GuidepostsBooks, 2006), 19.15.Ibid., 16.16.For a succinct explanation of multisited ethnography in anthropology, see GeorgeE.Marcus, Ethnography in/of the World System: The Emergence of Multi-sited Ethnogra-phy, Annual Review of Anthropology 24 (1995): 95 117.17.While the three African masjids constituted my main research sites, there are atleast two others in Harlem and many more throughout New York, especially in Brooklyn,Queens, and the Bronx.For an example of how Douglas E.Foley tracked ethnographicportraits in his study of Mexican Americans and Anglos in Texas, see Douglas E.Foley,notes to pages 10 12 249Learning Capitalist Culture: Deep in the Heart of Tejas (Philadelphia: University of Pennsyl-vania Press, 1990).18.For a discussion on using the real names of respondents, see Mitchell Duneier s Appendix: A Statement on Method, in Mitchell Duneier, Sidewalk (New York: Farrar,Straus and Giroux, 1999).19.Min Zhou, Segmented Assimilation: Issues, Controversies, and Recent Researchon the New Second Generation, in Charles Hirschman, Philip Kasinitz, and Josh DeWind,eds., The Handbook of International Migration: The American Experience (New York: RussellSage Foundation, 1999).20.For the projected growth of the American Muslim community, see Yvonne Yaz-beck Haddad and John L.Esposito, Muslims on the Americanization Path? (Atlanta: ScholarsPress, 1998).21.Aminah Beverly McCloud, Transnational Muslims in American Society (Gainesville:University Press of Florida, 2006), 2; John L.Esposito, What Everyone Needs to Know aboutIslam (New York: Oxford University Press, 2002), 169
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