The academic study of Islam has to a large extent failed to recognize visual and sonic expressions in favor for textual based monomodal research. Perhaps surprisingly, this is true also when it comes to the field of Islam and hip-hop. Even though research has shown that the cognitive universe of Islam has changed the language and message of hip-hop, little research effort as been put into multimodal investigations of the interplay of Islamic semiotics in audio, visual as well as textual cultural modes, such as for example soundscapes, record covers arts or fashion. This paper provides a multimodal investigation of the semiotic functions of Islam in hip-hop culture, based on a case analysis of the music video “Paid in Full (Mini Madness – The Coldcut Remix)” (1987), performed by Eric B and Rakim and directed by Bruno Tilly. The “Paid in Full” video is not only a landmark remix that exemplifies the transnationalization of Islam through music, long before the Internet became an integral part of public life. As will be demonstrated by the analysis of the staging of Islamic semiotics, the video also provides an interesting example of the emergence of alternative Islamic traditions, shared by Muslims in the Middle East and beyond. Finally, the paper pays attention to the dynamics of Muslim and non-Muslim actors, in the current staging of Islam in hip-hop. This aspect tends to be overlooked in the current study of Islam. Social agents of varied backgrounds, creeds and identities utilize Islamic semiotic resources within hip-hop culture. In short, non-Muslims as well as Muslims are part of the complex interplay shaping the artifacts and processes currently defining what is perceived as Islamic.