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[ by Charles Cameron — curiosity and classical music leads me on a merry chase from Bach and bin Laden via LastFM and Chorus Angelus to the heraldry of the Afridi, a Forsane Alizza video and the death of Superman ]
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I’m grateful to JM Berger (@intelwire) and Chris Anzalone (@ibnsiqilli) for their encouragement and help with this post. JM provided the screengrab above, which shows a title card from a recent al-Zawahiri video — I suspect it may have been the one he mentioned here [text now mildly updated]:

Back in the day, when Adam Gadahn was just getting started as guru to Al Qaeda’s media operations, he released a couple of fairly slick videos designed to appeal to Western audiences by mimicking Western documentaries — up to and including the presence of a musical soundtrack.

It is therefore interesting to note that the latest release from As-Sahab (which Gadahn basically runs at this point) opens with a short disclaimer. “ATTENTION: We do not permit musical accompaniment with our productions.” One second later, a nasheed (religious song) fired up, but I guess that doesn’t count.

I’m guessing this is due to input from one of Gadahn’s Al Qaeda overseers. It’s interesting that these guys can rationalize away visits to strip clubs but they can’t handle a light orchestral score.

Chris tells me that Tehrik-i Taliban Pakistan has included similar notes in some of its videos. Indeed as JM put it in a tweet yesterday, “The odd thing is most of these guys would not be cool with music” — while as Chris noted, “Opposition to music with instruments, it should be said, isn’t unique to jihadis.”

So that’s the context: here’s the thing that interests me.

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I can appreciate using the Old Master’s portrait of Christ that’s on the album cover to accompany a YouTube video of Bach’s B Minor Mass performed by Philippe Herreweghe (left), I can understand using a series of “nature scenes” for the Diego Fasolis performance (middle), I can even bite my lip and remain silent when someone lays a cute graphic of a wide-eyed young thing with a white rabbit (right) on top of Ton Koopman‘s version —

But my eyes simply bug out when I find someone has posted not one but four versions of Bach’s great Mass on YouTube, on not four but 42 separate videos, with bin Laden talking — silently, his lips moving — on each one.

Amazingly enough, that’s what someone calling themselves SOMALIAAFGHANISTAN has done.

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Look, people, this is strange.

Lawrence Wright quotes Osama bin Laden [link, at p 167] as saying “Music is the flute of the devil”.

I was doing some research for this post on Google, and ran across this:

Fair enough, I thought, and went to Last.FM, where I found this artist featured:

Bullet for my bloody valentine.

I kid you not.

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See, this all started because I was looking to play myself some Bach organ music and ran across a video of Marie-Claire Alain performing Bach’s BWV 767, which is pretty terrific — Alain is a great organist, it’s a remarkable work, etc etc — and found myself staring at this:

I mean, that’s not from the Bach part of my life, that’s from the part of my life that tracks jihadist utterances and theology…

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As my friend Chris Anzalone, whose posts on jihadist graphics I always read with interest, pointed out to me, this particular video has an extensive explanation of its heraldic significance attached:

Coat of Arms Of The Famous Afridi Pashtun Afghan Pathan Tribe

Flag of the Afghan Tribe – The Afridi.

Made from historical Texts & references.

Main Circle/Islam Symbolism:

White circle: Unified, unbroken & Islam 4 stars: 4 sons of Qis/Kesh/Qais Abdur Rashid Crown: Representation of Qis/Kesh/Qais Abdur Rashid & his Bani Israel lineage which is from the Ancient Royal House of Israel Lion with Flag: The Lion of Judah/The Bravery of the Afghans & the emblem of many Afghan Kingdoms Olive Tree: Descent from the House of Israel/Bani Israel Black Background: The world in troment, pain & ignorance, showing the messianic dedication of Afghans that spread Islam through kings and Sufis throughout India.

Tribal Symbolism on Coat of Arms:

Babe Khyber/Fort: Defending the borders of Afghanistan for centuries and masters of siege warfare. They successfully held the mountain passess of Afghanistan against the counter attack of many Indian Armies. Bolt Rifle: One of the first among Afghans to master the art of local Rifle and small arms making. They were famous for their sniper marksmen skills with the 3 not 3 or .303. Camel Caravan: Afridis are skilled businessmen. AK 47: Every Afridi child is given one before passing into adulthood.
Red Background: The Traditional color of the Afridis.

Reference Material:

* The Pathans 55O B.C.-A.D. 1957 By Sir Olaf Caroe
* History of the Afghans by Bernhard Dorn
* History of the Afghans Original by Neamet Ullah (active 1613-30) in the court of the Mughal emperor Jahangir (1569-1627)
* Tareekh i Farishta
* History of the Afghans edition X by Fut’h Khan in 1718
* The Works of the Pashto Academy Peshawar University and The Pashto Dept. Islamia College Peshawar through countless publications, both online and offline, and may writers including Dr. Yusafzai, much of which you can find at Khyber.org
* History of Kohat -Gazetteer of the Kohat District
* History of Peshawar -Gazetteer of the Peshawar District
* Afghan Poetry: Selections from the poems of Khush Hal Khan Khattak., Biddulph, C.D., Saeed Book Bank, Peshawar, 1983 (reprint of 1890 ed.)
* A Grammer Of The Pukhto, Pushto: Or Language Of The Afghans, Raverty, H.G., London, 1860
* Poems from the Diwan of Khushâl Khân Khattak, MacKenzie, D.N, London, Allen & Unwin, 1965
* Notes on the Tarikh-e-Murassa, Plowden, Maj.
* Settlement Report of Bannu, Thorburn

This text, in turn, comes from a Wikipedi page on the Afridi Tribal Flag posted by a user named Afghan Historian. Who has an enviable library.

Sadly enough, Wikipedia notes “The factual accuracy of this description is disputed” — although it’s not clear by whom.

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There are interesting references in the scholarly footnotes to the Afridi flag to “Qais Abdur Rashid & his Bani Israel lineage which is from the Ancient Royal House of Israel” and to “the messianic dedication of Afghans that spread Islam through kings and Sufis throughout India”…

The idea that the Afghans are descendants of the “lost tribes” of Israel is explored in the Jewish Virtual Library here. As to the Afghans’ “messianic dedication” — I’m not clear exactly what the word messianic means in this context, but it’s an interesting word choice in any case.

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When I first looked up this image on TinEye, my image-search engine of choice, the only version it reported was from the site of Forsane Alizza, a now-disbanded group in France whose leader claims to preach only non-violence:

Je vous préviens dès maintenant que je n’ai ni armes, ni explosifs, ni drogues, ni même quoi que ce soit d’illégal. Si cela venait à arriver, soyez intelligent réfléchissez et souvenez vous que depuis sa création et jusqu’à la fin, Forsane Alizza use et n’usera, que de sa liberté d’expression et son droit à manifester contre des lois injustes et illégal au vu des droits de l’homme. D’ailleurs toutes nos actions sont non violentes et elles le resteront.

while the security police claim to have found weapons in his house.

The Forsane Alizza video, from which the snazzy image directly above was taken, shows members practicing martial arts and painball games…

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And how’s this for an illustration of Bach’s BWV 566, the C Major Toccata and Fugue — and the death of American pop culture?

To sum up: what’s all this about? Why pair Bach with bin Laden, the Afridi, the demise of superman and all the rest?

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I don’t want to leave you with a bad taste in your mouth.

If you want to see what it’s like to hear Gustav Leonhardt conducting the Kyrie from the B Minor Mass juxtaposed with images of bin Laden, you’ll find that here. You may, of course, prefer the Herreweghe version, with another variant of his album cover with the face of Christ as the accompanying visual…

And for Marie-Claire Alain performing Bach, sans the Afridi, may I recommend this hour long recital, which I just happened upon myself thanks to this post?

2012 US Army War College Strategy Conference is under way. Fortunately, the major events are being videotaped and uploaded to Youtube.

Keynote address by former Deputy Secretary of State Richard Armitage:

Embedding games in education and everyday life.

[ by Charles Cameron — former and latter rain in OT, NT and hadith, also YouTube eulogy for Anwar al-Awlaki ]
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I’ve posted more than once about Sheikh Imran Nazar Hosein [eg: The United States of Islam and Iran or Afghanistan? The Black Flags of Khorasan]: today I saw a clip (screen-cap above) in which he eulogizes Anwar al-Awlaki.

What interests me in Sheikh Imran Hosein’s eulogy is that he references a hadith of the Prophet about the first and last showers of rain…

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So first, some background.

The imagery of “the first rain and the latter rain” dates back at least to the Torah.

In Deuteronomy 11.13-14, we read:

And it shall come to pass, if ye shall hearken diligently unto my commandments which I command you this day, to love the Lord your God, and to serve him with all your heart and with all your soul, that I will give you the rain of your land in his due season, the first rain and the latter rain, that thou mayest gather in thy corn, and thy wine, and thine oil.

That seems to be a fairly straight forward agricultural usage, although as I mentioned recently, scriptural exegesis under the PaRDeS system involves four levels of interpretation.

Joel 2.23 picks up the theme:

Be glad then, ye children of Zion, and rejoice in the LORD your God: for he hath given you the former rain moderately, and he will cause to come down for you the rain, the former rain, and the latter rain in the first month.

But this comes in a celebrated chapter which begins with the sounding of an apocalyptic trumpet and the declaration that “the day of the LORD cometh, for it is nigh at hand” – and which also contains the prophecy (verses 28-30):

I will pour out my spirit upon all flesh; and your sons and your daughters shall prophesy, your old men shall dream dreams, your young men shall see visions: And also upon the servants and upon the handmaids in those days will I pour out my spirit. And I will shew wonders in the heavens and in the earth, blood, and fire, and pillars of smoke…

By the time we reach the New Testament, the theme is clearly used (James 5.7) with a Christian eschatological implication:

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain

And indeed, the imagery of the Latter Rain as an outpouring of the Spirit to occur in the end times has given rise to a movement or series of Pentecostal movements going under the name of the Latter Rain, which have at times drawn the disapproval of apologetics scholars and even fellow Pentecostals.

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Bearing that in mind, it is interesting to note the following hadith of the Prophet:

The Prophet, sallaallaahu `alaihi wa sallam, further said:

“The example of my Ummah is like that of rain. It is not known whether the initial part (of the rain) is good or the latter part.”

Ibn Taymiyyah, the medieval theologian whose previously somewhat obscure work strongly influenced ‘Abd al-Wahhab, and thus the modern Wahhabi current, commented on this hadith:

..what it means is that among those who come later there will be those who are similar to those who came before, and they will be so close that the one who tries to compare them will not know which is better, even though one of them is in fact better.

This is glad tidings for those who come later, that among them will be those who are close to those who came before them, as it says in another hadeeth: “The best of my ummah are the first and the last, and between them there will be some crookedness. Would that I could see my brethren.” They said, “Are we not your brethren?” He said, “You are my companions.” This shows that precedence was given to the Sahaabah, because they alone are his companions, which is a higher status than merely being brothers.”

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In his tribute to “our brother Sheikh Anwar al-Awlaki” Sheikh Imran Hosein says “I don’t think there’s need to say more than one statement about Anwar al-Awlaki.” He then quotes the same hadith, repeating the first phrase for emphasis:

My Ummah is like the rain. My Ummah is like the rain: I do not know which shower is better, the first or the last.

And concludes:

Anwar Awlaki belongs to the last shower. That is his status, may Allah grant him Jannah.

— Jannah being the garden of Paradise.

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But see for yourself — the video clip is only a minute long, and the hadith and commentary are provided below it on the YouTube site:

[ by Charles Cameron — some glorious music, Venice, Kandahar ]
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I was listening to Pergolesi‘s Stabat Mater the other day, and talk came around to the question of whether women would have sung the two solo parts – whether they were written for soprano and contralto, in other words, or for treble and counter-tenor – all of which reminded me that the “red priest” Vivaldi was, for over thirty years, maestro of the Ospedale della Pietà orphanage in Venice.

The Ospedale’s all-woman choir performed many of his sacred choral works in church, hidden from view if not speculation in a high balcony behind an iron grille…

The BBC has an hour-long documentary on the subject of Vivaldi’s Women, which features the Ospedale but also the contemporary choir and orchestra, Vivaldi’s Women, more properly known as the Schola Pietatis Antonio Vivaldi.

The (lower) image of the present-day women’s choir singing behind one of those grilles – accompanied by a voice-over reading from a fashionable “grand tour” diary of the day which reports that the “grilles conceal the angels of loveliness” (the writer was perhaps aware, perhaps not, that many of the orphans in Vivaldi’s day would have been scarred or deformed by the pox or their parents’ syphilis) reminded me of another contested icon of “women behind a grille” – this time, the traditional Afghan chadari (upper image)…

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I have exchanged greetings through a grille with Carmelite nuns in California, and they clearly appreciated the sanctuary that their enclosure offered them…

My point is not to argue the superiority of bikini over burqa or vice versa: it is to offer you a chance to hear some Vivaldi or Pergolesi, and to consider the issue of veiling and revealing — intimacy’s equivalent of secrecy and transparency — from what was for me at least an unexpected and fresh angle.