A thoughtful, insider view of The Five Percenters-a deeply complex and misunderstood community whose ideas and symbols influenced the rise of hip-hop. Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z. The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In Why I Am a Five Percenter, Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought. Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In Why I Am a Five Percenter, Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

From Malcolm X to the Wu Tang Clan, the first in-depth account of this fascinating black power movement With a cast of characters ranging from Malcolm X to 50 Cent, Knight’s compelling work is the first detailed account of the movement inextricably linked with black empowerment, Islam, New York, and hip-hop. Whether discussing the stars of Five Percenter rap or 1980s crack empires, this fast-paced investigation uncovers the community’s icons and heritage, and examines its growing influence in urban American youth culture.

Decoded is a book like no other: a collection of lyrics and their meanings that together tell the story of a culture, an art form, a moment in history, and one of the most provocative and successful artists of our time. Praise for Decoded “Compelling . . . provocative, evocative . . . Part autobiography, part lavishly illustrated commentary on the author’s own work, Decoded gives the reader a harrowing portrait of the rough worlds Jay-Z navigated in his youth, while at the same time deconstructing his lyrics.”—Michiko Kakutani, The New York Times “One of a handful of books that just about any hip hop fan should own.”—The New Yorker “Elegantly designed, incisively written . . . an impressive leap by a man who has never been known for small steps.”—Los Angeles Times “A riveting exploration of Jay-Z’s journey . . . So thoroughly engrossing, it reads like a good piece of cultural journalism.”—The Boston Globe “Shawn Carter’s most honest airing of the experiences he drew on to create the mythic figure of Jay-Z . . . The scenes he recounts along the way are fascinating.”—Entertainment Weekly “Hip-hop’s renaissance man drops a classic. . . . Heartfelt, passionate and slick.”—Kirkus Reviews (starred review)

In Esotericism in African American Religious Experience: “There is a Mystery” ..., Stephen C. Finley, Margarita Simon Guillory, and Hugh R. Page, Jr. assemble twenty groundbreaking essays that provide a rationale and parameters for Africana Esoteric Studies (AES): a new trans-disciplinary enterprise focused on the investigation of esoteric lore and practices in Africa and the African Diaspora. The goals of this new field — while akin to those of Religious Studies, Africana Studies, and Western Esoteric Studies — are focused on the impulses that give rise to Africana Esoteric Traditions (AETs) and the ways in which they can be understood as loci where issues such as race, ethnicity, and identity are engaged; and in which identity, embodiment, resistance, and meaning are negotiated.

If Tripping with Allah is a road book, it’s a road book in the tradition of 2001: A Space Odyssey, rather than On the Road. Amazonian shamanism meets Christianity meets West African religion meets Islam in this work of reflection and inward adventure. Knight, the “Hunter S. Thompson of Islamic literature” seeks reconciliation between his Muslim identity and his drinking of ayahuasca, a psychedelic tea that has been used in the Amazon for centuries. His experience becomes an opportunity to investigate complex issues of drugs, religion, and modernity. Though essential for readers interested in Islam or the growing popularity of ayahuasca, this book is truly about neither Islam nor ayahuasca. Tripping with Allah provides an accessible look into the construction of religion, the often artificial borders dividing these constructions, and the ways in which religion might change in an increasingly globalized world. Finally, Tripping with Allah not only explores Islam and drugs, but also Knight’s own process of creativity and discovery.

The Salafi movement invests supreme Islamic authority in the precedents of the Salaf, the first three generations of Muslims, who represent a “Golden Age” from which all subsequent eras can only decline. In Why I Am a Salafi, Michael Muhammad Knight confronts the problem of origins, questioning the possibility of accessing pure Islam through its canonical texts. Why I Am a Salafi is also a confrontation of Knight’s own origins as a Muslim. Reconsidering Salafism, Knight explores the historical processes that informed Islam as he once knew it, having converted to a Salafi vision of Islam in 1994. In the decades since, he has drifted away from Salafism in favor of an alternative Islam that celebrates the freaks, misfits, and heretical innovators. What happens to Islam when everything’s up for grabs, and can an anything-goes Islam allow space for reputedly intolerant Salafism? In Why I Am a Salafi, Knight explores not only Salafism’s valorization of the origins, but takes the Salafi project further than its advocates are willing to go, and reflects upon the consequences of surrendering the origins forever.

Michael Muhammad Knight embarks on a quest for an indigenous American Islam in a series of interstate odysseys. Traveling 20,000 miles by Greyhound in sixty days, he squats in run-down mosques, pursues Muslim romance, is detained at the U.S.-Canadian border with a trunkload of Shia literature, crashes Islamic Society of North America conventions, stink-palms Cat Stevens, and limps across Chicago to find the grave of Noble Drew Ali, filling dozens of notebooks along the way. The result is this semi-autobiographical book, with multiple histories of Fard and the landscape of American Islam woven into Knight’s own story. In the course of his adventures, Knight sorts out his own relationship to Islam as he journeys from punk provocateur to a recognized voice in the community, and watches first-hand the collapse of a liberal Islamic dream. The book’s extensive cast of characters includes anarchist Sufi heretics, vegan kungfu punks, tattoo-sleeved converts in hard-core bands, spiritual drug dealers, Islamic feminists, slick media entrepreneurs, sages of the street, the grandsons of Elijah Muhammad and Malcolm X, and a group called Muslims for Bush.