Friday, March 29, 2013

Sites and Sources



http://rapgenius.com/

A site helpful for providing explanations of songs and their meanings.



Harvell, Valeria G. "The Storefront Church & Hip Hop Movements: Homiez From The Hood." Journal Of Pan African Studies 3.9 (2010): 152-188. Academic Search Complete. Web. 20 Feb. 2013.

Khabeer, Suad Abdul. "‘Rep That Islam’: The Rhyme And Reason Of American Islamic Hip Hop." Muslim World (Hartford, Conn.) 97.1 (2007): 125. Biography Reference Bank (H.W. Wilson). Web. 20 Feb. 2013.



Price, Emmett George., and Cynthia B. Belt. "Rap Music as Prophetic Utterance." The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide. Lanham, MD: Scarecrow, 2012. 46. Print.


Price, Emmett George., and Joshua Hutchinson. "Dissed-Enfranchised: The Black Church under the Steeple." The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide. Lanham, MD: Scarecrow, 2012. 16. Print.


Price, Emmett George., and Lerone A. Martin. "Binding the Straw Man: Hip Hop, African American Protestant Reliogion, and the Dilemma of Dialogue." The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide. Lanham, MD: Scarecrow, 2012. 56-57. Print.



Tune, Rev. Romal J. "What Does Hip-Hop Tell Us About Faith And Society?" The Huffington Post. TheHuffingtonPost.com, 02 Sept. 2011. Web. 27 Mar. 2013.


Winters, Joseph. "Unstrange Bedfellows: Hip Hop And Religion." Religion Compass 5.6 (2011): 260-270. Academic Search Complete. Web. 20 Feb. 2013.

Conflict

               General Conflicts Between Hip Hop and Religion



Islamic "Five Percenters attribute the suffering of Black people to blindness and ignorance, conditions that are reproduced by the chicanery and manipulations of white people and other ‘bloodsuckers of the poor’. Insofar as Christianity is perceived by Five Percenters as the religion of the oppressor and an ideology that compels adherents to worship a Mystery God, it is no surprise that Christianity has often been the object of critique in rap music" (Winters 264).

There seems to be somewhat of a "complex intersection" between the church and those in hip-hop culture (and those who navigate both discourses) as discussed by Charles L. Howard in an essay called "Deep Calls to Deep..." which was a contribution to a book called  "The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide." 

Black church leaders and congregations have often demonized those in the Hip Hop world, accusing them of degrading their race and providing a poor image. That unintentionally represents their race in a negative fashion. Many church leaders also feel that hip hop promotes lifestyle choices that are unhealthy for impressionable young. Practices such as drug use, material gain, and the degradation of women are cited by such leaders and members of religious communities.


Black Protestants in some cases have led efforts to expose Hip Hop as evil, and its origins as evil. It is seen as “the paramount battle for the hearts and minds of African American Youth (Martin 57). What some of these people critical of Hip Hop fail to take note of are the “evil” conditions that gave way to Hip Hop culture. Socioeconomic bindings of those in the late 70's and heading into the 80's. These movements were characterized by some of the black ghettos in which they originated from. There were many setbacks suffered by blacks at the hands of some of Ronald Reagan's policies concerning minority housing, welfare, etc. Such policies gave way to even more of an "oppositional culture" (Martin 57).


They often struggle through contradiction as they confront the contradictions that many rappers are cited for. Some rappers claim to be religious while rapping about subjects and implying things that are anything but holy.

An example of this would be the Notorious B.I.G. At times, B.I.G. was considered a secular rapper, while also making claims like the following:


B.I.G. "I think that if there were more people that were into the Lord, there would be a lot less shit going on in the world." "I think that people need to realize that there are tests and obstacles that everyone has to go through. A lot of niggas want to give up and do wrong, but they don't even think that God is in their corner. What I respect about God is that He always steers you in the right direction" (Howard 39-40).

Secular, religious disillusioned artists like Tyler, The Creator of "Odd Future" fame, is known for his many outwardly criticisms of religion and God, openly mocking the concept of religion and those who are religious. He is a very visible example of someone in hip hop who exemplifies many of the characteristics that many black church leaders are critical of.

In his song "Nightmare" he raps: "Fuck Heaven, I ain't showin' no religion no respect."












Islam

Islam in Hip-Hop

   As a new wave of American Islamic rappers become more and more prevalent, so comes a new association and shared common identity among Islamic youth who share American, and religious culture. Theologies like that of the Nation of Islam and the Five Percent Nation have contributed to not only Islamic hip-hop, but all hip-hop's current form. There is much more of a focus on the Islamic religion and its importance in forming identities. Such a rappers career is a means of glorifying Allah.

American Islamic hip hop artists particularly see their work as serving two specific ends: to preserve the Islamic identity of Muslim youth and to educate non- Muslims about Islam and Muslims. (Khabeer 125) Artists like Mos Def and Lupe Fiasco represent this general drift within hip hop and the broader Black community toward Sunni Islam (Winters 266). Others like Q-Tip and Common further such trends in a somewhat mainstream sense. Many of these rappers try to reconcile ideals of love and understanding with the general population and Muslims alike, by using their words to heal some of the wounds in a post 9/11 world in which hostility still greets many Muslims in America.




 Mos Def speech. Features Verse from "Lord, Lord, Lord"

These lyrics come from the Kanye West track "Lord, Lord, Lord" but are Mos Def's verse in the song.

The power of observatiAnnotateon
Marvels and frights and strange delights
Attributes, properties, disciplines and novelties
Ecstatic patterns in the calendar design
Wilderness tours, guided for and by the blind
Cool ruler standing still sweating through the shades
He knew those lights only grew bright to fade
Dead wrong pageantry, lottery and games
Sleight of hand provided by extravagant and fake
The carnival tilt bell the hustle for the age
They clutch what they covet, what must they give away?
Who was uninvited who was asked to come and stay?
Surprise, it's your life, it's your business anyway
So please pardon these and such curious minds
Peace, safe passage, precious time hither and gone
The day of days, Yawm al-Qiyāmah
This tiny stone illuminated by a star
The only star so large many more
To make our largest star show small
Furthermore, the end is not the end no stop but a pause
And what we can witness isn't all there is at all
Custom  scotch and pork chops
The passion, expansion, the order of the random
See the dreamers, see the sleepers
Why'd you wake them?
Sweet Jesus and life on Earth
Seek heaven first
Let's put in this work

     The terminology that these rappers use are very evident when examined closer. "Phrases like “dropping science” and addressing women as “earth” and men as “son”
and “god” are examples of references from Five Percenter theology that are replete in hip hop music and vernacular" (Khabeer 126).


Even as many Muslims participate and widely engage in music, many others yet view music as "haram" or prohibited (Khabeer 128). Some Muslims reconcile their music practices of performing or listening to music by participating in particular ways. Some artists like "Native Deen" only use percussion instruments in their music. Other Muslim musicians assert that the content of an artists lyrics determine whether their music is permissible or not. In such a case, one's music must be glorifying or promoting Islam. Others still point out that the prophet Muhammed himself did not discuss the permissibility of music, and that it hardly of consequence. Many Muslims themselves argue that "one of the primary consequences and goals of creating Islamic-themed hip hop is providing an alternative to the messages of commercial hip hop music and culture. While the message in the music of these Muslim hip -hop artists may also appeal to non-Muslims, there is deliberate effort to offer this musical alternative to Muslim youth" ( Khabeer 134). Others argue yet that music allows many Muslims to help transmit art into the society that they belong, which helps form an identity that they so desperately need and that "in addition to serving the cultural needs of the general Muslim community, Islamic hip hop also, perhaps particularly from the perspective of the artist, is about asserting a religious identity that continues to acknowledge their ethnic culture" (Khabeer 136-137). It seems that most Muslims in music (specifically hip-hop)  profess that they aim to provide a positive influence to young Muslims that is somewhat contrary to what they feel mainstream hip-hop does in the current day and age. 




                                              An example of Native Deen's music:








Khabeer, Suad Abdul. "‘Rep That Islam’: The Rhyme And Reason Of American Islamic Hip Hop." Muslim World (Hartford, Conn.) 97.1 (2007): 125. Biography Reference Bank (H.W. Wilson). Web. 20 Feb. 2013.



Winters, Joseph. "Unstrange Bedfellows: Hip Hop And Religion." Religion Compass 5.6 (2011): 260-270. Academic Search Complete. Web. 20 Feb. 2013.






Christianity

                                                   Christianity in hip-hop



“If the church chooses to hold rappers accountable for their words and actions, then the church must also listen to the stories conveyed by rap artists and understand there is a need for them to play a constructive role in the lives of people who live in poverty and in strife.” The Church has to be understanding with the knowledge that everyone expresses there struggles differently, and everyone deserves to be listened to, no matter what their peers are talking about in other songs. When it comes to the life of Hip Hop artists, their struggle is typically a version of loosing their way and sometimes, their path is straightened out by their faith. 


“I am concerned about the approach some rappers take toward God and faith. But I'm also concerned that too often in the faith community we hold only the rapper accountable for the lyrics and not ourselves for the things we do to make the larger community feel like God or the church does not care. Like most people, rappers wrestle with understanding God, Christianity and their own personal faith" says Reverend Tune. There is a reoccurring theme among leaders of the Church on whether Hip Hop has a positive or negative affect on the people listening to it, whether it is good or bad for the community. If you take Tune's view into account, it comes down to the individual and they process the song based on their own experiences. 

Seeing as how a great deal of the problems that churches have with Hip Hop and its contents and the actions it promotes, they must acknowledge the need to seek why these rappers act as they do. That struggles that these rappers have been through have shaped them, and churches must make an effort to reflect on the issues that caused these either "unwanted" or "less than desirable" methods of expression.



As Sorett (2009) suggests, Kanye West’s hit song, ‘Jesus Walks’, Mase’s decision to become a pastor, Joseph Simmons’ (of Run DMC) name change to Reverend Run, and the recent release of KRS – One’s The Gospel of Hip Hop, indicate an increasing tendency within hip hop to embrace Christian-informed ideas, symbols, and imagery. Within communities one binding entity is religion, which is smart when marketing a song. Though it started off as a form of expression and a way to deal with issues, many find it to be a way to brand oneself as well. Rev Run has now focused solely on religion, letting that aspect of his life and Hip Hop combine. It is hard to balance out the two in a music genre that has two extremes. There is the side about violence and drugs, and then there is the side about God and struggle. The opportunity to pick one side or the other is rare, but it makes sense. A man can be changed by God, but he has to deal with the rough lifestyle that makes that change necessary first. 
The older generations do not see the two sides of Hip Hop "Hip Hop culture emerged as a source for youth of alternative identity formation and social status in a community whose older local support institutions had been all but demolished along with large sectors of its built environment." they only get to see the most drastic side (158).  "Alternative local identities were forged in fashion and language, street names, and most important, in establishing neighborhood crews or posses. ... Identity in hip hop is deeply rooted in the specific, local experience, and one’s attachment to and status in a local group or alternative family" (158). The younger generations identify themselves within the kind of Hip Hop that they associate themselves with. They develop a friend group and identities based on their interest in music. The older generations revoke the partying side of Hip Hop because they don't wish for the younger generation to find themselves thinking that is how life is, and developing those kind of habits that Hip Hop represents. 
    
  Importance of religion, God, spirituality in life.


The black community in general has always held the institution of Church in high esteem. It is their central meeting point within the community and their opportunity to be united. The ideas that have formed throughout the community come mostly from Church experiences themselves and centered on their faith in God. “The Black Church no longer offers a place of spiritual growth, religious stance, or social beckoning. The political views of the Black Church, in spite of some stances that are blatantly against the black community have chosen political parties of all things rather than be political in position as it once was" (Hutchinson 16) and as Hutchinson says they have somewhat taken over. The ideals of the community in general have stemmed from their church leaders, and Hip Hope artists have taken this opportunity to put their own ideas into songs. 

“As a form of social protest, rap music is a statement of class conscious self-expression. It uses the language of the streets in ways that resist the institutionalized oppression of the underclass, and it provides a voice for those who would otherwise be silenced" (Belt 46). Hip Hop takes what the Church says and personifies it, making it accessible to the entire community on all levels. It is an opportunity to reach out and offer a hand to the community in forming their own ideas, or following along in what they believe. Just as the church unites the community, so does music. 

Pertaining to "Jesus Walks" 
Songs like "Jesus Walks" don't necessarily advocate a religious path so much as they do a spiritual one that calls for people to judge one another less. The song seemingly attempts to remind people who Jesus was not one to judge and walked among the people were perceived of as lesser in society.

"This track should be given the attention it deserves as a song that not only mentions Jesus but makes a very strong and very deep statement for Gods's love for even the 'hustlers, killers, murderers, drug dealers, even the strippers.' This is huge for someone to make the assertion that might be obvious to some but heretical to others---that Jesus walks with even the criminals of our society"( Howard 40). This is an example of how music is reaching out to the community as a whole. There can be a strong divide within a neighborhood, but as long as there is God, everyone is given an equal chance. West is reaching out to everyone, creating a new dynamic for his audience, allowing everyone to understand and accept spirituality. Through West's past, it is clear that he has had some struggles, but through Jesus he can find acceptance. 

 West says that Jesus Walks" is a song that gained a great deal of notoriety as it enjoyed mainstream and critical success as a piece that spoke so openly and aggressively about Jesus and West's beliefs. It showcases his doubts and fears of evil forces and the devil trying to lead him down the wrong path. At the same time, he acknowledges the influence Jesus has with everyone, that he spares no one, regardless of location. He's not, as the song says "Here to argue about his facial features, or here to convert atheists into believers. I'm just trying to say the way school needs teachers, the way Kathy needed Regis, that's the way I needed Jesus.". A chart topper non the less, this song is relate-able to all who believe in a higher power. It is focusing in on a certain demographic, but the beat makes it transitional.