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.
Tupac spoke of the harsh realities of the street, and connected those realities to larger societal issues. If you were to sum up Tupac’s major “fault” it was that he “kept it real.” Tupac spoke about things as they were, and did not hold back. In the song “Blasphemy,” he calls out the pastor, the church, and urban Christians as he pushes for a new understanding of Jesuz.
First, beginning with Larry Krietzer’s concept of reversing the hermeneutical flow, we see how Tupac and his musical message can interpret the Bible and Jesuz. Krietzer uses film to analyze and study scripture; in essence, to interpret the Bible as opposed to using the Bible to interpret culture—hence, reversing the hermeneutical flow. In this work, he views several films to interpret different biblical messages from the Old Testament to the New Testament.
Often when we hold the Canon of God in comparison with pop culture, we can—at first glance—not find any “Christological message” within the “mess.” However, if we were to hold that the meaning of a text is not some invisible substance inserted in at the moment of its origin (rather like the immortal soul that mysteriously appears in a human fetus), but rather that the meaning of the text must be negotiated and continually re-negotiated between that text and its reader, then Tupac’s crucifixion and image of Black Jesuz becomes a more interesting theme in order to study. And the hermeneutics could therefore be reversed using Tupac to study the Bible. The meaning, therefore, lies between the texts, within culture, and not ‘in’ the text at all. This, Krietzer would argue, is reversing the hermeneutical flow. We can apply not only the stories of Christ to interpret Tupac, but we can shift and use Tupac’s stories to interpret Jesuz.
Songs such as:
- Young Black Male
- Brendas Got A Baby
How Long will They Mourn Me?
- Cradle to the Grave
- I Ain’t Mad at Ya
- Hail Mary
- Black Jesuz
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