by Christine A. Scheller | Jun 24, 2011 | Feature |
Grammy nominated hip-hop artist Flame (whose given name is Marcus Gray) opened for Will Graham and Newsboys at the Jersey Shore Will Graham Celebration at the Great Auditorium on May 21. Urban Faith News & Religion Editor Christine A. Scheller spoke to him before his set. The interview has been edited for length and clarity.
URBAN FAITH: People don’t necessarily connect hip-hop with graduate education, but you’re studying for a master’s degree in counseling.
FLAME: Hip-hop is an urban expression. It grew out of, I won’t say a rebellious spirit, but it was very outspoken and typically on a street level. It was expressive of social issues and things of that nature, but eventually I think guys realized a better way to impact people with their worldview is through education. Even from my perspective as a Christian artist wanting to forward a Christian message to the world, I thought it would be great to marry education with hip-hop ministry. That way it could be more potent.
What does that look like in practical terms?
It’s so crazy because music, I believe, really under-girds the counseling. If you can do songs centered around the things you hear in a private sessions concerning identity in Christ, concerning deep-seated issues, the repetitive nature of music, hip hop in particular, is like sermonettes over music, so it reinforces what you hear and hopefully it becomes repetitious.
Do you incorporate what you’ve learned in school into your songs?
Absolutely. That’s my goal. There is a song titled “Tonight” and it’s like prayer requests, but it’s the heart of the believer to be closer to our God. It’s very specific in the things we should turn away from and things we should turn to, as a result of putting off sin and putting on righteousness. That’s one of the songs that stands out to me.
How do you study and travel?
The cool thing is [I take] week intensive classes, so we pack a semester into a short period of time. Those are very convenient for my lifestyle right now. It’s rotisserie style for me in the Master’s degree. I’m enjoying it though. I have two more years, then a Master’s thesis and all that fun stuff.
What are the challenges of being on the road and how do you deal with them?
It’s been a great thing to travel with my wife. The friendship. The accountability. She’s my best friend. We’re business partners as well. One of the challenges is knowing when to check out, in the sense of we’re so in front of people and always doing things concerning the music ministry, so it kind of gets intertwined. It’s like: where do we cut this thing off and just be a couple? That’s probably one of the biggest challenges, but we try to take a vacation every year and celebrate our anniversary and make sure we’re very intentional. We also have accountability from our church home. Brothers and sisters who are praying for us, asking us hard questions, and making sure we’re prioritizing the right things.
by Christine A. Scheller | Jun 7, 2011 | Entertainment, Feature |
REAL DEAL: Rapper Tedashii is back with fresh beats and a sweet deal for fans.
Beginning today, GroupTune.com is offering an exclusive $11.99 download bundle of hip-hop artist Tedashii‘s May 31 release Blacklight, plus his 2009 album Identity Crisis, three videos about the making of Blacklight, and six exclusive music videos from both albums.
Blacklight “is an attempt to uncover what we all often conceal, as Tedashii deeply exposes himself as an artist, Christian and human being, while infusing the common themes of hope and living with the end in mind,” wrote a reviewer at Rapzilla. “The singular message of a future hope to be realized in eternity is woven into the array of sounds, outputting songs that offer a social commentary on today’s culture and address the day-to-day struggles many face,” wrote the reviewer.
“After a brief hiatus and 2 teasingly-epic singles, Tedashii is following up his sophomore Identity Crisis with an even more diverse and mature album called Blacklight. While I worried that the Tron-like cover would make the album seem like a rip-off or even corny, rest assured the hype for this album is highly deserved,” wrote another at ChristianMusicZine.com.
Like all GroupTune offers, this one is available for one week only, said GroupTune founder Matt Shamus.
GroupTune works like GroupOn in that subscribers receive exclusive offers through email, Facebook, and Twitter, but GroupTune specializes in downloads of Christian music, books, and sermons, he said.
Some artists are not comfortable promoting themselves and their work through social media platforms, so Shamus created GroupTune (after 10 years at DiscRevolt) to help them connect with fans on their own terms and market directly to them, he said.
Summer deals will include music by Israel Houghton and Tadashii’s fellow Reach Records artists including Lecrae, said Shamus.
If you try this new service, let us know what you think.
by Christine A. Scheller | Jun 2, 2011 | Entertainment, Feature |
The “Godfather of Rap,” musician and spoken-word poet Gil Scott-Heron, died May 27 at the age of 62. Although no cause of death was reported, Scott-Heron struggled with drug addiction and had contracted HIV.
The influential artist rejected the “godfather” label, according to an Associated Press report. Instead, “He referred to his signature mix of percussion, politics and performed poetry as bluesology or Third World music. But then he said it was simply ‘black music or black American music,'” the report said.
His signature composition, “The Revolution Will Not Be Televised,” appeared on his debut album, A New Black Poet: Small Talk at 125th and Lenox, which was recorded live at a Harlem nightclub at that address. In 2010, he released I’m New Here. There were many albums in between.
Atlantic editor Ta-Nehisi Coates grew up listening to Scott-Heron and lamented the fact that “The Revolution Will Not Be Televised” overshadows Scott-Heron’s other work.
At The Grio, Earl Ofari Hutchinson downplayed the importance of the song and Scott-Heron’s influence on rap.
“Neither of these do justice to Heron,” Hutchinson wrote.
“In fact, by the time ‘Revolution’ hit the airwaves in the early 1970s, black singers, jazz musicians, and spoken word poets had been pouring out incendiary black radical lyrics, sounds, and poetry for several years. The rap cadences were pronounced in many of their works. In the decades before the 1960s, legions of black jazz, bee bop, and blues singers ‘rapped,’ scatted, and hooped in their songs,” he explained.
Hutchinson prefers Scott-Heron’s Winter in America album, which he described as “a grim, bitter look at racial and political oppression in America and optimistic call for the forces of hope and change to renew the struggle against it,” and From South Africa to South Carolina, which he said “forcefully and brilliantly linked the struggles of Africans and African-Americans.”
“To Heron, the struggles were one and the same,” he wrote.
Scott Heron was no fan of the rap music he was given credit for. He criticized some artists’ “resort to shock, demeaning, and degrading lyrics” and their “lust for the bling and opulence, at the expense of socially grounded and edgy lyrics that blasted oppression and injustice,” Hutchinson wrote.
Greg Tate published an eloquent obituary for The Village Voice that begins with a deconstruction of the “Godfather of Rap” identifier.
“You know why Gil never had much love for that ill-conceived Godfather of Rap tag. If you’re already your own genre, you don’t need the weak currency offered by another. If you’re a one-off, why would you want to bask in the reflected glory of knock-offs? If you’re already Odin, being proclaimed the decrepit sire of Thor and Loki just ain’t gonna rock your world. Gil knew he wasn’t bigger than hip-hop—he knew he was just better,” Tate wrote.
He had much to say about Scott-Heron’s social activism, but this part provides speculative context for the evolution of the man and his work.
“Many cats of Gil’s generation became burnt-out anachronisms from trying to wage ’60s battles on ’70s battlegrounds; some are still at it today. Gil knew The Struggle was a work-in-progress—a scorecard event of win-some-lose-some, lick your wounds, live to fight another day. Keep your eyes on the prize—a more Democratic union—but also on the ever-changing same. Keep it progressive but keep it moving too. Not so difficult if you’re the type of self-medicating brother who gets lonely if he doesn’t hear the yap of hellhounds on his trail,” Tate wrote.
At The Root, Martin Johnson shared this interesting tidbit.
“In the summer of 1991, when I interviewed him between sets at the Blue Note in New York City, Scott-Heron’s complexity was apparent. He surprised me twice, once by defending Clarence Thomas on the grounds that ‘self-determination means that everyone gets to choose who they want to be rather than be who other people want them to be.’ He also noted that he was no fan of rap music. He shrugged it off as a generational thing. ‘My parents didn’t like my music, even though I felt it was in the tradition of what they listened to. I feel the same way about rap.’ During the interview, he chain-smoked marijuana,” Johnson wrote.
In his redemptive conclusion, Johnson reminds us that Scott Heron’s work transcended his human frailty.
“There have been scores of artists whose careers were marred by drug abuse, but no one who could write poetry and songs with so much social awareness and political bite as Scott-Heron. And no one could sing them with such depth and passion. His artistic legacy is far too great for the sordid details of his final decades to ruin,” he wrote.
What none of the reports I read mentioned is Scott-Heron’s religious upbringing or identity. With a body of work as large as it, one assumes his faith or lack thereof is there to be found, but I don’t know Scott-Heron’s work well enough to assess the roots of his activism. Perhaps you do. If so, please share your thoughts.
by Paul Scott | Oct 19, 2010 | Headline News |
The superstar rapper/entrepreneur Jay-Z has generated lots of buzz lately regarding his spiritual beliefs. Is his music satanic? Is he a member of a secret society? Commentator Paul Scott suggests we may be getting distracted by the wrong questions, and that’s exactly how the hip-hop industry wants it.
“Big Ballin’ is my hobby / so much so they think I’m down with the Illuminati.” — from the song “Hot Toddy” by Usher, featuring Jay-Z.
Over the past year, the hottest topic in the hip-hop world has been whether artists such as Jay-Z, Kanye West, and others are part of some diabolical secret society. From street corners to college campuses, people are losing sleep over the question: “Is Jay-Z part of the Illuminati?” The issue has reached such a level that Jay-Z has responded to the accusations on collaborations with Rick Ross and Usher, as well as radio interviews. To add to the controversy, MC Hammer reportedly has jumped on the bandwagon insinuating that Jay-Z is a devil worshiper.
While some of the discussions have been thought provoking, many have done nothing but subject people to the same “spookism” about a devil with a pitch fork and a red suit that they get in many churches. Much of the “spookism” that is being used in regards to the Illuminati is just a mask to divert attention from the real issue, global white supremacy.
The Illuminati was formed May 1, 1776, by Adam Weishaupt, with the purpose of organizing a secret society of “enlightened white men” to rule the planet. However, it must be noted that — according to the book Illuminati 666, compiled by William Sutton — Weishaupt has said, “regarding the order, let it never appear in any place in its own name, but always covered by another name and another occupation.” So when an interviewer asks a rapper if he is a part of the Illuminati, the person is really creating a smokescreen to hide the real issue.
What should be questioned is why hip-hop industry insiders from J. Prince, Ice Cube, to 50 Cent have felt compelled to address the issue. If the accusations of something fishy in hip-hop did not have at least a grain of truth, the whole controversy would have been easily dismissed and not dignified with an answer.
There is a term called “limited hangout,” which is defined as “the release of previously hidden information to prevent a greater exposure of more important details.” This is the deception that is transpiring with the hip-hop secret society controversy.
It is often said that if you don’t ask the right question, you cannot get the right answer. The question that should be posed to Jay-Z is not whether he is a member of the Illuminati, but “What does he know about the Illuminati?” Because if he claims that he doesn’t know anything about the order, then he cannot possibly know if he is playing a role in their agenda, can he? Also, the major question should not be whether a rapper is part of a secret society, but what is his relationship with the 10 percent of the population that controls 90 percent of the wealth and how does this affect “the ‘hood”?
The discussion of the role that covert white supremacist organizations have played in the oppression of the non-white people of the planet has been discussed by researchers and conspiracy theorists. However, the issue has been rarely viewed in a hip-hop context, so people have been either unwilling or unable to connect the dots.
We must start by studying the various covert plots to oppress non-white people that were taking place in the United States during the mid-19th century by secret organizations such as the Know Nothing Society and the Supreme Order of the Star Spangled Banner, which included such members as Albert Pike, who according to Michael Newton’s book on the Ku Klux Klan has been “named by some historians as the author of the Klan’s original prescript.”
The same agenda was also being carried out across the Atlantic by European white supremacists, such as Cecil Rhodes who founded the Round Table Group that espoused the doctrine of Anglo-Saxon world domination, including the colonization of Africa. So, perhaps, instead of looking at rappers, we need to be looking at Rhodes Scholars?
Although many of the societies have been based on racism, the motivation has also been economic, as these organizations follow the proverb that “a fool and his money are soon parted.” If you keep the masses ignorant, they can be easily exploited.
Herein, lies the role of hip-hop.
While commercial rappers like Jay-Z may not be card-carrying members of a secret society, it is not debatable that many support global white supremacy by way of “racial shadow-ism,” which Neely Fuller defines as “when victims of racism are directly or indirectly, ‘assigned,’ bribed, coerced and or likewise influenced by white supremacists to speak or act to do harm to other victims of racism.” He says that the reason for this is to cause us to believe that the person acting in a “shadow” capacity is in control, when in actuality he is a mere flunky for the global elite.
Also, while most people reference a Tupac video clip as evidence that he exposed the Illuminati, if one really listens to the clip, Shakur actually denied its existence. In it, Shakur said the only thing that matters is getting money, regardless from whence it came.
There is an old saying that if you want to hide something from a black man, put it in a book. So the information about secret societies that has hip-hop heads buggin’ is not really secret, but can be found in our local libraries. But when you have successfully dumbed down a society, you do not have to really hide the truth, as it can be “hidden in plain sight.”
So if the power of secret societies is keeping the masses clueless, what role does hip-hop play in making ignorance bliss? Frankly, I’m less concerned about Jay-Z being on the cover of Forbes magazine than I am about the “conspiracy” of rappers who are considered too dumb to be in a secret society (such as Gucci Mane and Wacka Flocka Flame) carrying out a mission to dumb down black and urban children.
Our greatest weapon against oppression is knowledge of the truth. Instead of engaging in ghetto gossip and fairy tales, we must encourage people to read. We cannot rely on hip-hop websites and YouTube for our information, but must get our information the old fashioned way — from a book.
We must understand that for those who do not study, everything is a secret. However, for those who diligently seek truth, as Jesus taught: “There is nothing that is hidden that shall not be revealed.”
