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Political Melodies in the Pews?: Is Black Christian Rap the New Voice of Black Liberation Theology?

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Political Melodies in the Pews?: Is Black Christian Rap the New Voice of Black Liberation Theology? POLITICAL MELODIES IN THE PEWS?: IS BLACK CHRISTIAN RAP THE NEW VOICE OF BLACK LIBERATION THEOLOGY? David L. Moody A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Committee: Dr. Angela M. S. Nelson, Advisor Dr. Frank Goza Graduate Faculty Representative Dr. Khani Begum Dr. Bettina Shuford © 2010 David L. Moody All Rights Reserved iii ABSTRACT Dr. Angela M.S. Nelson, Advisor Liberation from oppression, racism, and poverty is a long-awaited dream for many African Americans. The “liberating” dream for most African Americans in times past was achieved through a spiritual commitment to God and communal support from fellow believers within a given church body. How does one achieve liberation today? Is it through Christian theology? Is it through artistic musical expression? Or is through both? On the other hand, is it achieved through religious ideology packaged as political expository preaching? Black Christian rappers are the latest in a far-reaching procession of African Americans to participate in a “redeemer exercise” dedicated to the safeguarding of ethnic- gender hierarchies. Similar to the social and psychological messages for slaves that were revealed in the old Negro Spirituals during the nineteenth- and twentieth-century, Christian rappers and Black liberation theologians, use a personified –social form of politics to convey meaning and substance to challenge racial intimidation in America. Moreover, these spiritual activists focus on liberation from social, political, economic, and religious oppression that has kept African Americans in bondage for many years. This study argues that Christian rappers interpret the effects of postmodern and post-civil rights social, economic, and political transformations in a similar mode to the messages declared from the pulpit by Black liberation theologians. However, these iv spiritual rappers adopt a different agenda for empowerment and religious freedom from the one proclaimed by their elder counterparts. In particular, the study explores the views that Christian theology is a theology of liberation and by means of this spiritual deliverance, an innovative, yet, revolutionary voice (Gospel hip hop) has emerged from the pews of the Sunday morning worship hour in the Black church. It is my contention that the emergence of Christian hip hop based ministries has taken on the role of a new liberating theological theme among youth within the Black community. Moreover, as controversy surrounds the provocative sermons by the former pastor of the Trinity United Church of Christ, the Reverend Jeremiah Wright, a similar tone of discontent at present, challenges the discipleship and evangelism efforts of Christian rappers such as: Antonious, B.B. Jay, Elle R.O.C., Gospel Gangstaz, Grits, King Cyz, Knowdaverbs, Lil’ Raskull, Mr. Real, Toby Mac, Willie Will, and Kirk Franklin. v This dissertation is dedicated to my father, mother, and two sisters. Thank you for your encouragement, support, and love. vi ACKNOWLEDGMENTS First, I thank my Lord and Savior Jesus Christ for giving me the strength and ability to continue running the race all the way to the finish line. To Dr. Don McQuarie, director of the American Culture Studies Program. Thank you for giving me an opportunity to fulfill a boyhood dream! I would like to thank my committee members Dr. Frank Goza, Dr. Khani Begum, and Dr. Bettina Shuford for believing in me and supporting my efforts on this project. To my advisor and mentor Dr. Angela Nelson for her guidance, advice, and assistance over the past three years. Additionally, thank you Angela for introducing me to the wonderful world of Black Popular Culture! Thanks to my colleagues in the Department of Telecommunications/School of Media and Communication at Bowling Green State University and my teachers in American Culture Studies for their support and encouragement. To Dr. Halifu Osumare from the University of California, Davis--thank you for planting the original seed for this project. To James Dillard, Helena Montgomery, Bob Noll, Marjorie Fuller, and Dr. Charles “Buzz” Clift for those many recommendation letters you have written for me. I also would like to thank my church family, the New Hope Baptist Church; in addition, special thanks to my pastor and first lady, Rev. Vincent R. Miller and Sister Rose Miller for your love and support. I am grateful to my three brothers in the struggle: Dr. Ewart Skinner, Dr. Rob Prince, and Rev. Jimmie D. Smith for being there when I needed an ear to hear, a voice to speak, and someone to pray for me. My sincere thanks go out to my wife, Linda, and my three sons--Kris, Tim, and Aaron. Thank you for your support, encouragement, and prayers. Finally, I would like to vii thank all my friends and students from Bowling Green State University (big thanks to Dara and Gordon), and especially you the reader. viii TABLE OF CONTENTS Page INTRODUCTION: THE “LIBERATING” DREAM THROUGH BLACK CHRISTIAN RAP AND BLACK LIBERATION THEOLOGY......................................................................... 1 CHAPTER I. BLACK LIBERATION THEOLOGY: POLITICAL, SPIRITUAL, OR AN OLD VOICE FROM THE PAST? ................................................................................................ 17 America’s Love Affair with Jeremiah Wright-The Controversy............................... 17 The Biblical Foundation for Black Liberation Theology: The Exodus of the Jews .. 21 The Grandfather of Black Liberation Theology: A Closer Look at the Work of James Cone ............................................................................................................ 25 The Controversy--Part 2 …………………………………………………………….. 36 CHAPTER II. PERFORMING HIP HOP IN THE BLACK CHURCH: POLITICAL, SPIRITUAL, OR JUST PLAIN ENTERTAINING? ........................................................... 38 The Spoken Word through Music Part 1: Black Expression through African American Religion, Negro Spirituals and the Blues................................................................... 38 The Spoken Word through Music Part 2: Hip Hop as a Culture: Rap as an Art Form.. 53 The Spoken Word through Music Part 3: Carnal Melodies in the Pews? The Gospel According to Christian Rappers …………………………………………………….. 63 CHAPTER III. JESUS “THE BROWN SKIN-REVOLUTIONARY”: WAS JESUS A MARXIST RAPPER? ............................................................................................................ 92 The Marxist Influences of Black Liberation Theology.............................................. 92 The Socialist Influences of Black Rap (Christian and Secular)…………………….. 110 What Would Jesus Rap About? ................................................................................. 116 ix CONCLUSION ……………................................................................................................. 132 The Role of the Church Today................................................................................... 132 BIBLIOGRAPHY …………………………………………………………………………. 144 APPENDIX A. ABC TRANSCRIPT/JEREMIAH WRIGHT .............................................. 156 APPENDIX B. ARBITRON ETHNIC COMPOSITION..................................................... 159 APPENDIX C. SLAVE POPULATION OF THE U.S. ..................................................... 160 x LIST OF TABLES Table 1 Comparison of Social/Political/Religious Concerns………………………….......... 161 2 Black Liberation Theology and Rap Music Timeline................................................ 162 1 INTRODUCTION: THE “LIBERATING” DREAM THROUGH BLACK CHRISTIAN RAP AND BLACK LIBERATION THEOLOGY Three things characterized this religion of the slave, -the Preacher, the Music, and the Frenzy. W.E.B. Du Bois And ye shall know the truth, and the truth shall make you free. John. 8.32 KJV Liberation from oppression, racism, and poverty is a long-awaited dream for many African Americans. The “liberating” dream for most Black Americans in times past was achieved through a spiritual commitment to God and communal support from fellow believers within a given church body. However, a mêlée is taking place within the contemporary African American church that challenges the traditional forms of worship, and questions the limits of artistic and religious freedom of expression within the Black ecumenical community. How does one achieve liberation today? Is it through Christian theology? Is it through artistic musical expression? Or it is through both? Alternatively, does one achieve liberation through religious ideology packaged as political expository preaching? It is my intention to analyze the differences in the agendas of these two liberating voices (Black liberation theology and Black Christian rap), while at the same time drawing a connection to the ways in which both groups have used the biblical emphasis on liberation as justification to maintain the Black nationalist state of mind that “the God of the oppressed takes sides with the Black community” (Cone 6).1 1 Black Nationalism evolved from the efforts of several outspoken advocates who supported the vision of the Black freedom struggle. According to Collins and Crawford, the term “Black Nationalism” was inspired by Malcolm X’s call for collective self-definition, self-determination, self reliance, self respect, and self- 2 For over two centuries, despite the hardships of slavery, Black Americans creatively expressed their desires for freedom through the music of Black spirituals.
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