JUSTICE-CONSCIOUS clergy and theologians have been drawn to the Black Lives Matter movement by resonating eschatological beliefs and prophetic ethics. However, movement motivations differ for many of the millennial activist leaders whose ethical sensibilities and theological worldview are not framed necessarily by doctrinal faith, ecclesiology, or trust in the church as an arbiter of God’s right and wrong.
Instead these millennial activists, unlike the boomers allied with them, relate to ethical messages found in popular cultural streams of hip-hop and spoken word that voice this generation’s pervasive questioning about theodicy—the presence of good and evil—in the world. These lyrical works articulate a generational critique of lived experiences that warrant further ethical and theological analysis. The challenge for the church and its faith leaders is: Do we listen?
In a Sojo.net post last August, I noted that the 2015 anthem chant “Hell You Talmbout,” by Janelle Monáe and Wondaland, voiced an ethical polemic on prevalent state-sanctioned practices of extrajudicial injustice. The chanted names of those killed serve to demand their remembrance as persons. As a rallying cry across the nation, the call-and-response lyrics convey a hymnody challenging the anonymity of invisibility.
Similarly, rap artist Kendrick Lamar’s 2015 song “Alright” was rapidly adopted in the Black Lives Matter movement as a counterhegemonic anthem that pushed against police violence with a first-person examination of mortality on the margins.
Lamar’s lyrical messaging in “Alright” linked cultural expression with socio-theological meaning to craft a survival ethic. Intentional use of the N-word sears the embedded consciousness of an older generation for whom the term is historically tied to the evils of slavocracy and Jim Crow segregation. However, Lamar intentionally turns to the signifying trope and demoralizing images that cast “othered” black and brown bodies into racially pejorative stereotypes. In the present millennial context, the N-word is used as a catchphrase of familiarity among peers but is also acknowledged as a pejorative used by police to identify or label black bodies—as many audio-visual recordings of incidents attest—while extrajudicial methods are physically applied. Use of repetitive lyrics in “Alright” amplifies an epistemological and ethical conundrum about systematized oppression. But do we listen?
Wouldn’t you know—we been hurt, been down before
N----, when our pride was low, lookin’ at the world like, “Where do we go?”
N----, and we hate po-po; wanna kill us dead in the street fo sho
N----, I’m at the preacher’s door
My knees gettin’ weak, and my gun might blow
But we gon’ be alright
The images in the video for “Alright” expose, with satirical irony and stark reality, that lived experiences in neighborhoods on the brink of ghettoized existence are linked to systemic control by powerful, privileged forces. Lamar’s juxtaposition of a bodily spirit in flight creates tension between the evils of oppression and a spiritual will to survive. This theoethical tension is captured when a voiced recognition of the “evils of Lucy” (Lucifer) all around is jolted into silence when a uniformed figure fires a single gunshot that sends Lamar’s black body careening off the high perch of a street light.
1. A United Evangelical Response: The System Failed Eric Garner
The Staten Island grand jury’s decision not to indict the police officer who killed unarmed Eric Garner was a shocking injustice — but this time the injustice has been universally condemned across religious and political lines. Read this great roundup of evangelical leaders’ responses.
2. These Are the Best Jobs Numbers in Months, Maybe Years
In good news today, the jobs numbers released this morning were a pleasant surprise. The Upshot breaks down the numbers for you.
3. This Atheist Is Thankful for the Clergy
“The clergy here in St. Louis are a credit to their traditions and to their profession. They are doing what religious leaders ought to do: holding society to a higher moral standard, using their authority as a weapon against injustice, mobilizing the rich resources of their religion to bring hope and encourage change. I’m glad they are here, and I feel privileged to work with them.”
4. Why Are Some Cultures More Individualistic Than Others?
Apparently it all comes down to farming practices. “As we enter a season in which the values of do-it-yourself individualism are likely to dominate our Congress, it is worth remembering that this way of thinking might just be the product of the way our forefathers grew their food and not a fundamental truth about the way that all humans flourish.”
He’s been crowned the “new hip-hop king” and his newest album, “Anomaly,” topped iTunes and Amazon charts the day of its Sept. 9 release. He’s been invited to birthday parties for both Billy Graham and Michael Jordan and riffed on NBC’s “Tonight Show” with host Jimmy Fallon.
It’s the kind of mainstream success that has eluded most Christian rappers. Then again, some people are still trying to decide if hip-hop star Lecrae is a Christian rapper, or a rapper who happens to be Christian.
It depends who you ask, including Lecrae himself.
“God has also raised up lowly, kind of insignificant individuals to do miraculous and incredible things,” Lecrae, 34, said in an interview. “We’re the Gideons, we’re the Davids. Even Jesus himself made himself of no reputation. It’s when you can link it back to God doing it, I think that’s what he loves. He’s not a megalomaniac, he’s deserving of glory and honor, and to use individuals that demonstrate that it was him, and him alone, it accomplishes his mission and that’s success.”
For nearly a decade, the ministry of Julian “J.Kwest” DeShazier has been an exploration in the relationship between music and faith. As artist, this Chicago native has used his unique rhythm to tell stories of deep meaning, inside and out of the church. A 2007 Holy Hip Hop Award winner, his song, “So Blessed,” was featured on the Grammy-nominated compilation Holy Hip Hop: Taking the Gospel to the Streets, and J has been celebrated as “Living Black History” by Urban Ministries International.
In 2012 he and his group, Verbal Kwest, were featured in the Sojourners, OXFAM, and Bread for the World-produced documentary The Line, providing a critical voice against poverty and violence in the U.S. A graduate of Morehouse College and the University of Chicago Divinity School, Julian currently serves as senior pastor of University Church in Chicago, and is a regular contributor to Sojourners, UrbanFaith and Kidult publications.
Editor's Note: There may be some objectional language in the beginning part of this about hour-long interview.
I have been actively listening to the words that are used in popular and social media. Our words are used to convey messages, shape cultures, and promote agendas. This is not a criticism, as we all participate in this process. We use words, images, and metaphors to try to shape a preferred precept or concept when we communicate. Our words are loaded with meaning, not just literally, but culturally and symbolically.
Every week, I talk to young men and women who are shaped and guided by the language used in the hip-hop culture. Interestingly, these are not young adults of one ethnicity or socioeconomic background, but young adults from across the spectrum of ethnicity, nationality, and economic status.
"Continuing a cycle of violence through state-sanctioned actions does not bring justice but only creates a culture of death and retribution. As a pro-life Christian, I believe the execution of Troy Davis shows a failure of moral leadership by both our country and the state of Georgia. The doubt surrounding the case of Troy Davis has served as a wake-up call to many in this country that our justice system is flawed and should not hold the power of life and death over any person. Justice should restore and heal, not destroy." -- Sojourners CEO Jim Wallis statement today, Friday Sept. 23
Flobots are a Denver-based, hip-hop/rock alternative group, whose powerful activist lyrics explore issues from globalization and poverty to war and peace. Their influences include civil rights activist (and Sojourners contributing editor) Vincent Harding, who has a cameo in their newest music video...