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On Being with Krista Tippett is a public radio project delving into the human side of news stories + issues. Curated + edited by senior editor Trent Gilliss.

We publish guest contributions. We edit long; we scrapbook. We do big ideas + deep meaning. We answer questions.

We've even won a couple of Webbys + a Peabody Award.
Two sisters smile outside of a mosque in Brooklyn on Eid al-Fitr. There are so many varied and unique stories of Ramadan, it’s hard not to be joyful. 
(Photo by Jewel Samad/AFP/Getty Images)

Two sisters smile outside of a mosque in Brooklyn on Eid al-Fitr.

There are so many varied and unique stories of Ramadan, it’s hard not to be joyful. 

(Photo by Jewel Samad/AFP/Getty Images)

So, what does this story have to do with modern-day Iran and Iranians? Everything. For the vast majority of Iranians who identify as Shi’a and even for many who don’t, the story of Karbala lies at the heart of all struggles against oppression and tyranny — personal and political.

Melody Moezzi writes this smart, informative piece about the relevance of the one-thousand-year old story behind Ashura and modern-day politics in The Washington Post.

~Trent Gilliss, senior editor


Unforeseen Beauty and Possibility: A Decade of Discovering Islam

by Krista Tippett, host

Ash of murdered thousands.The Brooklyn sun on September 11, 2001. (photo: by Joshua Treviño/Flickr, cc by-nc-nd 2.0)

In a perfect world, or at least a perfectly informed one, most Americans would have known something about Islam as the 21st century opened. They would have been aware that over one billion of the world’s people belong to this faith that emerged from the monotheistic soil of Christianity and Judaism. They might also have known that Muslims would soon be the second largest religious group in the U.S., after Christians. And that statistic might have come alive in American imaginations in the form of the doctors and teachers, parents and citizens it represents.

But we don’t live in a perfect world. September 11, 2001, was many Americans’ catastrophic introduction to Islam. Certainly, up to then, there were Islamic images that populated the American sense of the world out there — threatening images, many of them, associated with bombed embassies or the first failed World Trade Center attack. Islamic terrorists were default suspects, too, we recall, in the immediate hours after the Oklahoma City bombing.

But September 11 was the day, as someone said, when the Middle East came to America. That Tuesday we woke up as post-Cold War people — citizens of the prosperous remaining superpower. By Wednesday we had become post-9/11 people, with newly fearful eyes on the world. And our new enemies declared themselves agents of Islam.

I was in Washington, DC, on that day seeking funding for the wild idea of a weekly public radio program on religion. I had been piloting programs for about a year, getting an enthusiastic response from listeners and a tepid one from programmers. Talk of religion, many argued, was necessarily proselytizing and divisive. Moreover, faith wasn’t an appropriate focus for a weekly hour of public radio — not a reasonable, weighty subject for public life like politics or economics or the arts — best left as a private matter.

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Time-Lapse of a Faith in a Quieter Mecca

by Trent Gilliss, senior editor

This time-lapse film from Hosain Hadi shows the Masjid al Haram (“Sacred Mosque”) in Makkah (Mecca) in more serene moments, which may be different than most depictions videos you’ve seen of the sacred site shot during the Hajj.

The complex is shot in the off-hours, so to speak. It’s not packed to the hilt with worshipers from all over the world. It’s not shot from that same, single overhead view we often see, the one that brings the Kaaba into focus. In Faith, Hadi shares many angles with the viewer, but always from a distance. This gives one a better sense of the pulse of the shrine and its visitors. Literally, during one time of prayer, the image flickers as the adherents kneel and stand. White and grey, white and grey.

What I’m most particularly drawn to are the images rolling during the credits. Several women stand outside the mosque with their boys, one taking photos while the other holds his mother’s hand and balances on one leg. Another group of women and men race past; the first group lingers. It’s an exquisite sequence that humanizes these black-veiled women. The distance should make them feel like objects, like ants in motion. It doesn’t. You actually see these women as mothers and friends. The extension of a hand to her son, a gesture of intimacy to return home.

(ph-scale via almaswithinalmas)