The article traces the framing of Muslim Europeans as the continent's Other by focusing on the silencing of queer Muslims within public debates around 'Islam and homosexuality'. Ignoring class as a factor in the violence produced by the gentrification of urban spaces, the pitting of the (implicitly white) gay community against the (implicitly straight) Muslim community posits the latter as a threat to the continent's foundations that needs to be contained through forms of spatial governance in line with the neoliberal restructuring of the city. Maintaining that this is a Europe-wide phenomenon, the article looks at Amsterdam as exemplifying the European metropole as a site of pseudo-homophile Islamophobia. Simultaneously, with activist groups like the queer of color collective Strange Fruit, it is also representative of the strategies of resistance developed by groups whose presence is virtually erased through culture clash discourses, namely queer Muslims. The article argues that an intersectional queer of color activism, as practiced by Strange Fruit, and a queer of color critique building on it, allows to undermine binaries from the Muslim/European dichotomy to the normative coming out narrative, invariably positioning queers of color as 'not properly gay'.

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The history of the black German minority, now estimated at around 500,000, goes back several centuries. It is only since the twentieth century, however, that Germans of African descent have been perceived as a group. This did not lead to their recognition as a national minority, but rather, from the 1910s to the 1960s, they were defined as a collective threat to Germany's racial and cultural ‘purity’. When a sense of identity emerged among Afro‐Germans themselves in the 1980s, the majority population continued to deny the existence of ethnic diversity within German society. At the turn of the twenty‐first century, Afro‐Germans seemingly suddenly appeared as a new, ‘hip’ minority. This appearance was largely focused on the immense public success of the Hip Hop collective ‘Brothers Keepers’, conceived as an anti‐racist, explicitly Afro‐German intervention into German debates around national identity and racist violence. This article explains the success of ‘Brothers Keepers’ by contextualising it within the tradition of two decades of Afro‐ German feminist activism and the transnational Hip Hop movement of European youth of colour.

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