by Chris Karnadi (RNS) | May 22, 2019 | Commentary |
A mural of Nipsey Hussle at the Dreamville Festival on April 6, 2019, in Raleigh, N.C. Photo courtesy of Dreamville Festival
(RNS) — When hip-hop writer Yoh Phillips arrived at Dreamville Festival on April 6, 2019, he found a 10-foot mural of the late rapper Nipsey Hussle planted in the middle of Dorothea Dix Park.
Then he noticed Nipsey Hussle seemed to be everywhere.
He saw sweaters from the artist’s “Crenshaw” project and heard performer after performer mention the impact and legacy of Nipsey during the daylong festival. J. Cole, who is the founder of Dreamville Records and the mastermind behind the festival, performed a tribute with a montage from Nipsey’s life in the background.
But the mural painted by Paul Garson and Nik Soupé — and the timeline of its creation — stuck with Phillips.
“They had one week to paint that,” he said.
When artist Nipsey Hussle was shot at his clothing store in L.A. at the end of March, the shocked hip-hop community stopped and mourned. Musicians offered tributes on social media as his Grammy-nominated album “Victory Lap” rose back to number two on the Billboard 200 chart.
Whenever the hip-hop community loses an artist, it loses a member of the family.
Fans of rapper Nipsey Hussle gather at a makeshift memorial in the parking lot of The Marathon Clothing store in Los Angeles, Monday, April 1, 2019. Hussle was killed in a shooting outside his clothing store on Sunday. (AP Photo/Ringo H.W. Chiu)
The mourning binds people together as they reflect on the life and legacy of an artist taken too soon and reveals the foundation of hip-hop culture: beauty from brokenness.
That’s what Dreamville Festival and the last-minute mural were for Phillips and many others: a space to mourn, remember Nipsey Hussle and return to what the hip-hop community is all about.
“Usually festivals feel like everyone’s there for something different, but Dreamville was a place for everyone to remember, to reminisce, to acknowledge all that Nipsey meant,” said Phillips. “There was something very church-like about it.”
The hip-hop community is no stranger to loss.
Some of the most public deaths in music have been hip-hop legends, from Tupac and Biggie in the ’90s to Mac Miller and Nipsey Hussle most recently.
Jonathan Brooks, pastor of Canaan Community Church in Chicago and author of “Church Forsaken,” still mourns the death of Phife Dawg of A Tribe Called Quest.
Phife died at the age of 45 in March 2016 from complications related to diabetes. Brooks said the artist’s death was like losing a friend.
“So many members of my family and my church have diabetes, so that made the loss even more personal,” Brooks said.
Nipsey’s death because of gun violence and gang activity is sadly also a common theme in hip-hop.
“The lifestyle that Nipsey lived related to his demise,” Brooks said of Nipsey’s known gang affiliation. “But it’s also the lifestyle that he was trying to eradicate.”
Nipsey tried to defuse gang violence in his community.
He invested in Vector 90, a co-working space that teaches science, technology and math to kids from the inner city, and he founded The Marathon Clothing, a creative space for music merchandise and community.
It was outside The Marathon Clothing that Nipsey was shot.
Central to hip-hop culture and community is the violent context and the resilient life that survives within it. The pairing of difficulty and survival is the history of hip-hop, Brooks said.
“In the ’70s, people said that the Bronx was burning and that there was nothing beautiful there. From those ashes, hip-hop rises,” he said. “It’s the epitome of beauty in brokenness.”
That type of beauty in brokenness is also what draws writer Donna-Claire Chesman to hip-hop culture.
Donna-Claire Chesman. Courtesy photo
Donna-Claire Chesman. Courtesy photo
She said that hip-hop has a spirituality to it.
“A lot of the reasons that people turn to religion is the reason that I turn to music,” she said. “There’s so much solace to be found in hip-hop.”
Right after news of Mac Miller’s death on September 7, 2018, she tweeted in disbelief: “This is the man that got me through my brain surgery.”
Mac’s music was there for her through the ups and downs of her life, and losing him was crushing.
That day, she wrote her piece, “Thank you, Mac Miller,” before promptly returning to the floor to cry.
Since then, Chesman has been writing a yearlong weekly reflection called “The Year of Mac” about the scope and impact of Mac’s music.
She talks about the impact that the death has on the hip-hop community.
“When tragedy happens, the community gets stronger and the community expands,” she said.
She doesn’t agree with those who judge others who only started listening to an artist after their death.
“It doesn’t matter when they tuned in, it just matters that they did,” she said.
Mural artist Gustavo Zermeno Jr. walks on a basketball court mural he dedicated to slain rapper Nipsey Hussle in Los Angeles on April 17, 2019. More than 50 colorful murals of Hussle have popped up in Los Angeles since the beloved rapper and community activist was gunned down outside his clothing store. (AP Photo/Jae C. Hong)
He said Nipsey Hussle reaches a larger audience now than when he was alive. His final music video, a collaboration with DJ Khaled and John Legend, was released on Thursday (May 16).
And his legacy lives on.
“This is why hip-hop is different than other cultures,” Brooks said. “We try to embody the spirit of an artist in the way that we live.”
This message also impacts his ministry as a pastor.
“When I preach at funerals, I say that the best tribute you can give to this person is how you live moving forward. That’s a very hip-hop way of thinking.”
(Chris Karnadi is an assistant editor at Duke Divinity’s Faith & Leadership and a columnist at Sojourners. Follow him on Twitter @chriskarnadi. The views expressed in this commentary do not necessarily reflect those of Religion News Service.)
by Jelani Greenidge, Urban Faith Contributing Writer | Aug 15, 2017 | Headline News, Jelani Greenidge |
The Nielsen company is most widely known as the company that measures television ratings, but it also wields its considerable research apparatus in the realm of popular music. Recently, its annual mid-year report made headlines around the blogosphere after it revealed that for the first time, more people listened to the combined genres of R&B and hip-hop than any other musical form, dethroning rock’s position at the top.
This shouldn’t be a huge surprise to anyone who’s been paying much attention, because hip-hop music and culture has been steadily moving closer and closer toward the center of American culture for decades now. Nineties rap icons Dr. Dre and Jay-Z have become multimedia moguls with their own product lines and exclusive platforms, and the house band for NBC’s flagship late-night TV show is legendary Philly hip-hop band The Roots, whose leading men Amir “Questlove” Thompson and Tarik “Black Thought” Trotter helped produce the biggest smash hit Broadway recording in decades.
Reluctant to Adapt
Hip-hop has long been a mainstream form of musical expression.
And since evangelical churches are known for adopting trends and idolizing the notion of relevance, it seems telling that, outside of a few counter examples, very few churches are intentionally embracing hip-hop as a form of worship music.
There are a variety of reasons for this. Chief among them is a centering of whiteness and white cultural norms. Even for people who do not hold any active racial animus in their conscious thoughts (and who would therefore resist the term racist as a self-descriptor), there are still both conscious and subconscious ways that the tastes, priorities and experiences of people of color are marginalized or overlooked in favor of a “mainstream” aesthetic that is often white and middle class. Therefore, most white megachurches have worship bands that sound more like U2 than they do Lecrae, even though in 2017 people tend to listen more to the latter than the former.
But white privilege doesn’t explain the reluctance that many Black churches and church leaders demonstrate in their interactions with hip-hop culture. While gospel music has undoubtedly been heavily influenced by hip-hop music and culture (through trailblazing artists like Kirk Franklin and Tye Tribbett), there are still plenty of Black congregations where the attitude communicated by both leaders and laity is that it’s not holy if it doesn’t have a choir or a Hammond B-3 organ. Though the cultural signifiers are different, there’s still a sense of cultural superiority and a reluctance to get outside of it.
Missing the Point
In my conversations with White pastors and worship leaders, there’s also an expressed sense of apprehension about engaging with hip-hop for fear of doing it wrong; those who do it poorly are rightly accused of disrespecting the artform, and those who do it too well open themselves to accusations of cultural appropriation. Often I hear from pastors who feel like it’s fine for a church to embrace hip-hop, but only if hip-hop is an authentic cultural value of their congregation. When I hear that, I feel like what they’re telling me is, “Sure, you should do hip-hop, because you’re Black and you grew up with it. But my church doesn’t have many Black people.”
This also misses the point somewhat, because what that Nielsen report tells us is that hip-hop music (and the culture surrounding it) is no longer just the domain of a minority subculture. It is a huge part of mainstream popular culture, and as it relates to contemporary music, it is the dominant culture. When Beyonce drops an album, it’s news. After 2016’s Lemonade, even middle-aged white comedians were conversant enough to make jokes about “Becky with the good hair.”
At this point, it seems like most churches end up in one of four quadrants. When it comes to hip-hop, they either:
- Ignore it
- Denounce it
- Tentatively embrace it
- Go all out in support of it
It’s been my experience that most churches take option No. 1, while some more reactionary churches end up in option No. 2 (mostly out of fear and ignorance). And the few churches I know of that take option No. 4 do so because they’re in multicultural urban contexts (like colleges, military bases or athlete fellowships) where hip-hop is lingua franca.
I think the best move is No. 3—a tentative embrace.
Alternatives and Solutions
Let me be clear: I’m not suggesting that every church needs to start incorporating trap beats, turntables and air horns into their worship services. It’s still important to maintain a sense of reverence and holiness.
However, what I think is true is that any pastor or church leader who is concerned about reaching people under 40 needs to have at least a basic grasp of certain aspects of hip-hop culture, and—more importantly—recognize that these artifacts are a major part of just how things are today. It could involve allowing the worship leader to experiment with using hip-hop beats as part of the instrumentation.
It might involve inviting local or regional (or, if you have the budget, national) hip-hop artists. It might be learning to incorporate certain hip-hop terms, slogans or mannerisms. (In one overwhelmingly white church, as a guest worship leader I led a call-and-response portion of a song where, instead of saying “amen,” the crowd was encouraged to chant “yes, yes, y’all.”)
Is this risky? Sure. Will there be times when it looks like God’s people are trying too hard to be cool? Probably. Will you make mistakes and offend people along the way? Almost certainly.
But the alternatives are also risky.
A lot of time what I hear from people in their protests of hip-hop is criticism of the rampant misogyny and consumerism, so they feel like their only option is to denounce it. But we also have a ton of consumerism and misogyny in the White House; that doesn’t mean we have to oppose the concept of the Executive Branch. The truth is, pastors should be able to help their people understand and reject the sinful elements in any culture, but you can only really do that well if you can also highlight the honorable elements. If pastors and other church leaders consistently fail in that process, they inadvertently deliver the message that they are out of touch and their judgment is not to be trusted.
And whether they fail consistently, or they just never even try in the first place, the net effect is the same—young people are driven away from the church. Spoiler alert: Jesus had something to say about people who cause others to stumble, and it’s not good.
So this opportunity represents a clear way forward in engaging generations to come with the gospel of Jesus Christ. Let’s hope that God raises up a generation of leaders who are up to the challenge.
by Terri J. Haynes, Urban Faith Contributing Writer | Aug 5, 2010 | Entertainment, Feature |
From BET to Books: Thomas Chatterton Williams takes readers on a journey. Photo by Luke Abiol.
Thomas Chatterton Williams’ Losing My Cool is a compelling new memoir that exposes the dangers of hip-hop culture and celebrates the power of education over ignorance.