This is an ongoing conversation about Hip Hop's theological message. You can read part 1 here.

We have a hostile Gospel. We serve a Jesus that was, and still is in many facets, hostile. In order to move forward in our Christian theological development, we must confront both of those elements within our Christian Bible. For most Christians, Jesus is looked upon as a mild, gentle, all loving, peaceful man who just loved everyone in some neo-60’s, post hippie sort of way. When I read the Gospel of Jesus, I do not see that most of the time. I see a Jesus that caused much trouble, created a movement that has changed the world, spoke up for the marginalized, in essence brought a very contradicting economic message to both His context and ours, and left more questions than He did answers. Jesus also took on the form of humankind, when He could have stayed in His own “luxury” and “comfort.” Jesus embodied hostility everywhere He went. His very language of “viper” and “dogs,” in response to religious officials, was in fact a profane statement within His context.

As I sit here compiling and analyzing research for a new book I’m writing,[1] I am quickly realizing that there is a large gap between the connection with the Hip Hop generation and the church (emergent, traditional, or whatever you wanna call it). Most Hip Hop youth (between the ages of 12-18) see the church as oppressive, judgmental, harsh, and out of touch. They also recognize the double standards that are set forth as well. Double standards like “Do as I say not as I do.” Moreover, there is a vast amount of young urban Hip Hoppers seeking connections with other religions. One young guy I interviewed stated, “Yeah, I grew up in the Black Church, but Sh** they outdated now man, I mean…umm, they just don’t get me and I just can’t get with a punk Jesus they keep portraying to me…Rastafarianism is doing a way better job of meeting me at my level, Sh** I’m tired of being judged, I love God, but…whew…I don’t even know about the Christian church man.”

I am sitting at the back of a large hall on the first night of an “out-reach” camp. There are seventy-five excited, energized, yet agitated, predominately African-American middle schoolers waiting for the next event. As they sing music that has no relevance in their lives nor do any of them even know the words still it is “Christian,” I notice that only their adult leaders are singing the lyrics to the music they obviously already familiar with. Upon second look, I notice that the middle schoolers are actually singing along…extremely sarcastically and mimicking the song leader as she leads out in songs. What is more, there are groups of several students lurking around, looking for the first chance to sneak out. Finally, the end of the last song! The kids seem to clap as if in relief from a terrible bout with diarrhea. All the while their adult leaders seemingly bewildered as to why there were not more songs sung. I then prepare my notes, as I am the speaker for this “outreach” camp for the whole week. I take a deep breath, and begin with my introduction: who is Christ? I feel confident tonight. I am part African-American, part Mexican, I speak Spanish, I am tall, I love the Dallas Cowboys, I am bald, and I am a male (that should count for something right?). All the “qualifications” for speaking to urban youth (or so it has been implied ideologically over the years)! I know that I can “relate” to these youth. Heck, I have “been there” right where they are sitting.

The film Crash places some very serious issues at our doorstep. One of the better scenes in the film is when Tony Danza’s character, Fred, has a unique, but all too common conversation with Terrence Howard’s character, Cameron Thayer. Both Cameron and Fred are producer sorts for a major studio. They are both working on a show that has Black characters in it. Fred begins by asking Cameron if Jamal, one of the actors, is taking speech classes. Cameron, a bit set back and a tad nervous responds “No, why do you ask?” Fred then returns by stating that the line Jamal stated didn’t sound “Black enough.” Cameron, unfortunately, is put into a dire position; does he speak up and potentially lose his job, or does he just grin and “take it?” These are tough questions to answer, for anyone, even more for someone who is of color, in a moderate position of power, and dealing with subversive racism.

Well, the trip is over and the bags are unpacked. What a time. My grandmother is doing a lot better than I thought and she is in good hands at the nursing home she is in. Thank God!

As I sit back and reflect on this event, several things come to mind. First, how did I ever leave this po-dunk town? Why was it me that was “picked” to leave? 99% of my friends from this small town are either baby mama’s/ daddy’s, or are in marriages they really don’t like, have yet to really be out of the “state” on vacation, and have a revolving door policy returning back to the small town. Why me? On the flip side, do those issues make them so “bad” and me so “good” for being “successful?” I mean, what is success anyways? I recall the film Welcome Home Roscoe Jenkins in which Martin Lawrence returns home to his small town.

The parable in Matthew 13:1-23 is an interesting one for me. I often wonder about that story that Jesus told about the sower and how that sower threw out those seeds. What about those seeds, what were their needs? What happened to them during their process of growth? Often times, we write off those seeds. Heck, Jesus Himself even breaks the parable down in the latter part of the story, right? For me, living among the rocks and thorns is part of ‘hood living. There are many people living in those rocks and thorns that are extremely talented, gifted, scholarly, smart, wise, creative, artistic, and even pastoral. But because of the “thorny” situation they live in, they have to live out a different life than they would have hoped or dreamed for themselves.

There are several parallel connections here:

• Those seeds have heard the “word”—the ‘hood’s been evangelized to death. It still doesn’t mean anyone is actually living a Christ filled life.
• Those seeds have been to church—for many inner cities, there is almost a church on every corner, but the murder rate is still high? Divorce rates continue to rise. Does it mean they are not doing their “job?” Or, might it be the churches are just too irrelevant?
• Many of those seeds have withered away and continue to go through cycles of church & Christianity—what does that mean? Does Jesus love them any less? Will they too burn in hell? Will only the seeds that made it onto fertile ground make it to Heaven?

A good friend of mine, Harlan Redmond, runs an inspiring mentoring program at John Muir High School in Pasadena, CA. This program is intended to work with young people that come from troubled backgrounds. The program is also driven to serve young men as well. Harlan works with many of the young men and uses media, art, music, & culture to engage his audience. Moreover, Harlan is what I would call a true urban minister of the 21^st century.

While Harlan and his team use the normal field trips, and LA Dodger events to connect with his youth, Harlan and his team also realize that it takes just a little more to connect with a Hip Hop infused urban youth culture.

On a Tuesday afternoon in late in the school year, Rapper and actor Jayceon Taylor, The Game, made a guest appearance at John Muir High School.

How can we move forward without knowing our past? More importantly, how can we know where we’re going, if we have not studied our past direction? These are some basic, yet significant questions that we must begin to answer for any of our lives. Moreover, these are questions that can be applied to a cutlrual movement such as Hip Hop.

As someone who has studied Hip Hop extensively, I am astonished by the connections between the last several decades of music, U.S. leaders, and the current explosion and power of Hip Hop music and culture. Hip Hop has almost taken over our airwaves. When you can use rap music to sell a Carl’s Jr. hamburger, you know you’ve got something. What follows here is a basic understanding of Hip Hop matters; how society, religion, and pop culture all mesh together to form this urban ethos we see in our media and within television shows.

As I sit here packing my bags for a 5 day trip to the country of Texas, I am regaled with the memories of growing up in that country. In a small town just two and a half hours North West from San Antonio, my hometown of Menard laid nestled in the heart of West Texas. Growing up in Menard was nothing short of exciting. We got our first stop light in 1986, competitive football started in the 5^th grade complete with homecoming and cheerleaders, fishing was great especially for catfish, 4-H and FFA were events that the entire school district closed down for, I did not realize that nigger was a derogatory term until the 2^nd grade being that I was the only “nigger” in a 60 mile radius, my former junior high principal was a former Grand Dragon and referred to me as “Colored” and “Boy,” in the 6^th grade a friend of mine came dressed as a KKK member complete with a noose and won first place, and the best part of growing up in Menard was that I would always get all the watermelon and chicken I ever wanted at every potluck.

I wrote an article for PRISM magazine and this blog  here is my ensuing thoughts. To see the article in full, click here.

Hip Hop is one of the greatest cultural movements in the last 20 years. It has seeped into almost ever facet of life here in the U.S. And as I have traveled around the world, I find that Hip Hop is a voice for many who do not have one. In Paris, the only different between the youth there and here in the U.S. was the language: they spoke French. Other than language differences, there were amazing similarities in style, dress, personality, and social issues. Hip Hop is global, and for those of you who still think it is a “Black Thing” shame on you! It is much bigger than just a “Black Thing.” The media would have you believe it’s that, but in reality, Hip Hop is diverse in philosophy, pedagogy, theology, and spirituality; not to mention extremely diverse in ethnicity and culture.

What Hip Hop has done is create a voice for many who would otherwise not have one. But, what about the mess we hear on the radio? How does Soulja Boy’s song “Crank it Up” even begin to convey a “voice” for many? Moreover, how does rapping about one more SUV or girl you’ve had sexually uplift a community? Well, I tell you, these are all great questions, but we must begin with what Hip Hop really is and therefore, what is its missiological significance to really understand what makes a song like Ludacris’ “Pimpin All Over the World” such a hit.

Let’s first begin with a working definition of Hip Hop: