A Socio-spiritual Snapshot of Hip Hop from the West Coast Between 1992 and 1995

As the elements of Hip Hop were advancing with their eternal and universal purposes, Hip Hop took a look at her community and heard the cries of her people. So, she started to question and lobby for the redressing of Black Economics that was long overdue. The West Coast is know for some brutal stuff--gangs, earthquakes, Hollywood, O.J., Rodney King, and so on, and so forth. So, when observers see the heavy, systemic proportion of Black victims as results of structural poverty, it is not a surprise to anyone who has already seen the news, but for some, it sparked a collective attitude to get things situated economically. The authenticity of Hip Hop cared about and should still be the voice for the holistic need of people who dwell in the poor corners, the ethnic dumps, and recycled areas of the city (i.e.-lower 9th Ward, New Orleans, post Katrina). And this was not just on the West Coast. Statistics doubled and quadrupled themselves in crime databases amongst African and Hispanic Americans in Chicago and D.C. Being in community was seen as riot and gang affiliation (hints to the scowl and indignation of what is now know as"racial profiling").
After the Uprising (the Riots) and The Gang Truce of 1992, authorities were stuck on stupid, beating their nightsticks in their palms, and delirious that crime rates had actually declined. So, the Police beefed up their security and gave themselves the green light to pollutingly harass and mistreat the "Black family." Police questioned the motives of peace treaties between once rivaled gangs in speculation that the fight was now against them, as it rightfully should have been. From here, we can stiffly affirm that the Prison Industrial Complex's Juvenile Division made for the arrest of very young people a very easy thing with the underpinning of petty laws to the busting of youths "beyond reasonable doubt" and/or "on the grounds of suspicion."
The backlash of cosmic opposition pressed down on those who resisted the unjust arm of the law. The communal pieces of the Hip Hop generation (peace, dance, fashion, et alia) were pierced by the sharp infiltration of quasi-Justice in the spirit of COINTELPRO. Being young was now a criminal offense. NO Sagging pants, no more of that breaking bugaloo shh-stuff, and none of that hideous spray painting, saith the Law. Curfews, anti-cruising laws, noise ordinances and restrictions on public displays of affection were strategically placed obstacles that tripped up many youths into the pipeline of The "Justice" Department.
With the attention focused at the bottom of social ranks that were under the heaviness of piss poor politicians, pissed smelling projects, and pissed-off Police persons, the role models--the Rappers--became involved in a hot debate with government officials, and yes, even the President of the Unites States.
A young, Black activist by the name of Lisa Williamson, better known as Sister Souljah, a community organizer, public speaker, as well as a rap mogul, stunned America and the American President of that time, William Jefferson Clinton, with her equalizing rhetoric on the violence of the riots which had beat Reginald Denny to death on national TV.
To this day, the two anacronym blows responsible for the blinding of Liberty were the hands of Hip Hop's Sister Souljah and Ice T's album "Body Count" which underwent vehement protests from disgruntled cops responding to his controversial single "Cop Killer" and was later discontinued from record shelves and media airwaves.
But, also in this cultural snapshot of Hip Hop's timeline is the liberating presence of the Honorable Minister Louis Farrakhan who constructed the historic reconstructing, reconciling Million Man March which happened that Monday morning of October 16th, 1995. Afterwards "a generation went home with themselves, back to the business of becoming," said Jeff Chang in his book "Can't Stop Won't Stop."
Here, we can percieve the cultural aesthetic of Hip Hop calling us back to her undisputed spirituality. Common said he "used to love H.E.R." Love, Peace, Joy, and having fun is ecclessial, and so is Hip Hop. She embodies the healing power for the collective trauma of the oppressed. I deduce here that Hip Hop is the Secular Church; that the Beloved Community has never been clearer when one beholds Hip Hop. It is universal, cross-cultural, even pluralistic. Hip Hop has an inextricable solidarity with the poor. What a compliment it is to the reign of God. A conscious look at Hip Hop can be the social forcasting of where we as people should be headed. Amen.

Daniel White Hodge: Tha Hostile Gospel: Missionaly Embracing the Theology of Hip Hop: CCDA 2009 Audio: Free Christian MP3 Podcast | UrbanMinistry.org

Daniel White Hodge: Tha Hostile Gospel: Missionaly Embracing the Theology of Hip Hop: CCDA 2009 Audio: Free Christian MP3 Podcast UrbanMinistry.org: "Daniel White Hodge: Tha Hostile Gospel: Missionaly Embracing the Theology of Hip Hop: CCDA 2009 Audio"

Post Soul Theology: Reversing The Hermeneutic with Tupac Amaru Shakur

From September 13, 2009
Today marks the 13-year anniversary of Tupac’s violent and shocking exit of this world. He died September 13, 1996. His death was in no way short of controversy—as was almost his entire life. Yet, in death, his message became even stronger and global. Tupac has touched the lives of many and, as many people that I have interviewed told me, brought them closer to an understanding of who God was, is, and can be. Tupac presented a conundrum of sorts. On one hand, he represents the hope, vigor, and excitement of a post soul generation. Yet, on the other, he represents the despair, depression, and marginalization of several generations all gathered into one person. Tupac presented both sides. His half brother asserts that he represented both the good and evil in people.
Read the rest here

Hip Hop: Call for Papers

Call for Papers: RAP AND HIP HOP CULTURE

PCA/ACA & Southwest/Texas Popular Culture and American Culture Associations
Joint Conference
April 20-23, 2011
San Antonio, TX
http://www.swtxpca.org
Proposal submission deadline: December 15, 2010
Conference hotel: Marriott Rivercenter San Antonio
101 Bowie Street
San Antonio, Texas 78205 USA
Phone: 1-210-223-1000


Proposals for both Panels and Individual Papers are now being accepted for the Rap Music and Hip Hop Culture Area. We had excellent representation in this Area for 2010, and we are looking to expand in both quantity and complexity for 2011. This year, we are particularly interested in proposals that address the following:

- Intersections of Hip Hop and Pedagogy
- Rap Music, Hip Hop Culture, and Space/Place
- Theoretical approaches to Hip Hop (i.e., Language Theory/Postmodernism/Social Theory)
- Rap, Hip Hop, and Academic Disciplinarity
- Rhetorical Approaches to Rap Music and Hip Hop Culture
- Rap, Hip Hop, and Film/Documentary
- Hip Hop Subjectivities/Agency
- Anthropological/Sociological approaches to Hip Hop Culture
- Economics and Hip Hop Culture
- Discussions of international Hip Hop
- Intersections of Hip Hop and Religion/Theology
- Hip Hop and Technology
- Latino Hip Hop
- Women and Hip Hop
- Hip Hop in the age of Obama

As always, papers and panels that consider the myriad ways that Rap Music and Hip Hop culture impact and feed upon Popular and American culture are encouraged. This Area should be construed broadly, and we seek papers that aren’t afraid to take risks. Proposals from Graduate Students are particularly welcome, with award opportunities for the best graduate papers.

Please send abstracts of no more than 250 words with relevant audio/visual requests by December 15, 2010, to Robert Tinajero at the email below. Panel proposals should include one abstract of 200 words describing the panel, accompanied by the underlying abstracts of 250 words of the individual papers that comprise the panel.

Robert Tinajero
Area: Rap Music and Hip Hop Culture
hiphopcfp@hotmail.com
www.swtxpca.org

Robert Tinajero Tarrant County College English Department 817-515-4616 Email: hiphopcfp@hotmail.com Visit the website at http://swtxpca.org

Hip Hop On Sacred Ground: The Culture and Spiritualization of Rap Music

Hip Hop On Sacred Ground: The Culture and Spiritualization of Rap Music

Does God Hate Hip Hop?

Read more here

Calls for Chapters

Call for chapters for the forthcoming volume “Hip Hop Spirituality and Urban God Talk.”

As framed and constructed by the media and even some practitioners, hip hop culture is considered a hyper-violent, misogynistic, and materialistic culture devoid of anything holy, sacred and good. Indeed, many spiritual leaders of all faiths indict the entire culture of hip hop and promote it as the work of the devil (or Evil One). However, we suggest that a different reading of hip hop culture will allow one to discover a profound; yet diverse spirituality emanating throughout the culture. While not orthodox by typical religious standards and traditions, hip hop culture, like any other culture, finds hope, joy, comfort, relief, and understanding, through the practice(s) of its worship and spirituality.

Therefore, I am interested in compiling and editing a book of original essays on hip hop’s spirituality. Essayists in this volume hope not only to contribute to the lack of scholarship that focuses on hip hop’s spirituality, but we are also interested in examining how discourses concerning hip hop could change if a reading of hip hop included its spirituality. In addition, we hope this book begins an interdisciplinary dialogue that provides a rigorous, creative, and critical examination that encourages others to take up this exciting field of study. Essays in this volume will cover all aspects of spirituality and hip hop.

Please submit a 300-500 word proposal and CV to me at ajohnson@memphisseminary.edu by June 30, 2010

Faith Complex: Michael Eric Dyson on hip-hop theology

The Conducive Nature Of Hip Hop Culture For Missional Praxis

One of the most unique, creative, and influential cultures in not only North America but throughout the world is hip hop culture. Hip hop’s appeal can be seen locally and globally as its style, music, and attitude continue to spread fast through various mediums. In the midst of this culturally explosive movement, we also note that the North American Church is struggling, as its popularity and draw fades with each passing year. However, rebirth is found as thousands of Christians are taping into the fountains of biblical wisdom that are redirecting them back to God’s Mission. A movement known as the missional church, is pleading with the body of Christ to be the Church, and to bring the gospel of Christ in a relevant and contextualized fashion to all peoples. Read more here

Hip Hop and the Nation of Islam

In April 1997, Minister Louis Farrakhan (who arrogated leadership of the reconstituted Nation of Islam in 1978) along with key figures in the Hip Hop Industry summoned rap artists from around the country to attend what eventually became the first official Hip Hop Peace Summit. The driving force behind the summit was to encourage and to educate East and West Coast rappers but mainly to put an end to the East/West rivalry that was threatening to implode the Hip Hop industry.

Read more at Suite101: Hip Hop and the Nation of Islam: The Blueprint of the Million Man March http://alternative-religions.suite101.com/article.cfm/hip-hop-and-the-nation-of-islam#ixzz0oEXouyC9

RZA’s The Tao of Wu: Hip Hop Religion, Spiritual Sampling, and Race in a "Post-Racial" Age

You’d think that seven years after the release of Kanye West’s “Jesus Walks” that there would be little need to explain the link between hip hop music and religion. Yet in a recent NPR interview, I was asked once again what the often profane posture of hip hop has to do with the sacred aspirations of spirituality. So perhaps it is still necessary to pause at the outset and offer a few examples as a reminder to readers of rap music’s long tradition of religious ruminations. Read the rest here

Spiritual Strain of Hiphop Part 2 - Christianity
Although I recently wrote about hip-hop's spirituality and "religion" the Universal Zulu Nation, that doesn't mean people from other religions don't use hip-hop as an expressive tool. Other religions use hip-hop music, dance and graffiti within the contexts of worshiping their god or higher being. Christianity is one of the religions that use hip-hop as that form of tool. Also known as "Holy Hip Hop," hip-hop art in Christian culture has been known as the new and hip way to rally a younger audience into the church. People from the Christian faith that believe hip-hop, although it is "created by man," is used for God's purpose to reach out to the youth. Those who accept Holy Hip-Hop hold similar beliefs as the Universal Zulu Nation, but believe it is the principles of Christianity that need to be pushed in the lyrics and that the Christ figure should be added into songs. Even some famous hip-hop artists are now apart of the Holy Hip-Hop community, including Christopher "Play" Martin (from the hip-hop rap group Kid N' Play) and Kurtis Blow. read the rest of the post here

Spirituality and Hip Hop

Spiritual Strains of Hiphop
Within the culture of hip-hop lies another element often ignored by mainstream society -- religion. There has always been the question of where the people of hip-hop get their energy from, and the answer is often umbrellaed as an energy that is used to fight freedom. However there is a deeper layer in the hip-hop community than the mere desire to be equal, and most people attribute it to a form of religion within hip-hop culture formed by hip-hop pioneer Afrika Bambaataa. Read the rest of this post here

My Hip Hop Role Model

A few years ago the young and tumultuous life of Curtis “50 Cent” Jackson was depicted in a motion picture titled after his 2002 debut album, Get Rich or Die Trying. The film was accompanied by a soundtrack and a book length autobiography, From Pieces to Weight. His music, film, and autobiography tell a rags to riches story of a poor black kid from Jamaica Queens, New York who hustles his way out of chronic poverty, rising from a nihilistic drug dealer to a hip hop superstar and businessman. His story of struggle and hustle is the mythological stuff that consumers of hip hop love and what is typically called the American Dream. Hip hop artists thrive off of this mythology and without it hip hop would not be hip hop. In fact, no hip hop artist is credible and authentic apart from this myth.
Please continue this article here.