Science In the Language of Hip-Hop

Dr. Chris Emdin is Assoc. Professor
at Columbia Univ. Teacher's College.

Tonight I spent a few hours listening to a keynote speech by an amazingly gifted young scholar. Dr. Christopher Emdin is a sort of pioneer in the area of science education in that he uses Hip-Hop as a medium through which the students might receive the content of science instruction. 

I stumbled upon him and his work a few months back on twitter, and I started following him a family of other Hip-Hod heads and scholars who religiously use the hashtag #HipHopEd (Hip-Hop Education). These thorough Hip-Hoppers get together on twitter every Tuesday between 9-10 pm and talk all things Hip-Hop. It's really informative and engaging dialogue.

Tonight he gave the keynote address at Ohio State University's Hip-Hop Literacy Conference. This conference is annual event that is organized by a varied collective of disciplines and departments throughout the university. Dr. Emdin's lecture keyed in on the value of pain to progress. He quoted the great Anais Nin who said:

And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom.

Man, if that isn't a deeply powerful statement. The pain that we feel for the Hip-Hop culture is the very pain that we felt for ourselves having experienced the pangs of of poverty and oppression that plagues our ghettos and urban communities. These are the ones with no spiritual director, no pastor, no church. Just the streets. And when you don't have anything else, you make do with what you got...the streets.

I had the privilege of meeting Dr. Emdin at a Hip-Hop
Literacy Conference at Ohio State University. 

Dr. Emdin is a genius (for real) because he figured out that the way to help kids love science (and school for that matter) is to help them tap into their pain. That pain is most often expressed in the music...the rap music.  Music is the soundtrack of life. And so Hip-Hop is the soundtrack of the hood. 

But Hip-Hop isn't just music. Hip-Hop is language. It is a means of communicating about shared experience. We can't relate to country clubs, trust funds, and international vacations, but what we can relate to is drug abuse, fatherlessness, and crime. It is dress, speech, and style that manifests that shared experience. It is culture.

Dr. Emdin now teaches teachers how to capture the essence of the culture and utilize the indigenous elements of Hip-Hop as tools for instruction. By tapping into their culture we tap into what is nearest and dearest to them...their pain. And when we tap into the pain of ghetto life we unlock the potential for limitless achievement. I wonder if my church folks are hearing this.

Maybe later on I'll delve a little deeper into some of the other concepts in his lecture (specifically the 5 Cs) and how this stuff is relevant for church and ministry. 

Why We Need Hip Hop (Pt. 2)

E.L. Jones Jr. is a Pastor, DJ, film
producer and so much more.

Here it is, the second installment in the "Why We Need Hip-Hop" series. This week we have none other than E. L. Jones Jr. AKA Pastor J. He holds a Master of Divinity degree from Liberty Baptist Theological Seminary and has ministered all over the world. This guy is like an urban church swiss-army knife. Whether it is dee-jaying, producing, filming, teaching, preaching, or counseling, he has been always been deeply involved with urban ministry. You can visit his website and follow his vlog at www.iAmPastorJ.com. He is a supreme connoisseur of music, especially rap music. He and His wife, Dr. Ann Marie Jones live in Greenwood, Mississippi. 

When Pastor Thompson called me about adding my voice to the topic, I asked about the direction I should come from. Are we asking why the church needs Hip-Hop, or why the world needs Hip-Hop? He paused and said, “Both.” This presents a unique challenge, mainly because historically, the church has rejected Hip-Hop as not being worthy of her attention or affection; and when attention has been given, it's been negative.

I would suggest that even though the church doesn’t like Hip-Hop, it still needs Hip-Hop. I base this on a couple of reasons. One, there is a large portion of the population in the United States and abroad that is a part of the Hip-Hop culture. There are those who disagree, but the evidence is insurmountable that this culture is growing at an alarming rate. It is growing in correlation with the post-modern mindset and the return of the same political climate and economic conditions that birthed it in the first place.

Rapper The Game's latest album "Jesus Piece" is indicative
of the spiritual direction that Hip-Hop needs and craves.

The church has an obligation to reach all people with the gospel of Jesus Christ, and this means that if the church is to continue to be relevant in the 21^st century (there are those who believe it is on the verge of extinction), then it must adapt its methodology to reach this large segment of society. 

The church needs Hip-Hop because our youth are being bombarded with Hip-Hop culture through popular entertainment. Even the previous bastions of conservative, Anglo-euro culture have succumb to the influence of Hip-Hop. In the last few years mainstream media, and previously unaffected sports with a predominately Caucasian following (like bowling and hockey), are now using rap music to advertise and expand their audience. Unless the church finds a way to present our timeless doctrine using the medium of Hip-Hop, we are in danger of losing our main source of posterity; the children and grandchildren of current members.

The world needs Hip-Hop because it is the voice of those who are not affluent enough to own mainstream media outlets; at least that use to be the case. Now the world needs real Hip-Hop to combat the influences of commercialism in rap music.  There needs to be a revival of authentic Hip-Hop, which spoke to the ills of society, rather than contributing to them. There needs to be a revival of the genuine article, which educated the young, rather than promoting ignorance. There needs to be a revival of the positive sort, which brought people together, even if it was just a city or neighbor, rather than encouraging us to kill those who live on the same block.

"Rush" started out as just another kid from the
hood. Now? Multi-millionaire media mogul.

The world needs Hip-Hop because it encourages the entrepreneurial mindset. Out of the roots of this urban culture came clothing designers, automobile modifiers, record label executives, and media moguls. They were driven to be more than artists. They used the music, dancing, and art to employ their friends from the neighborhood.  They reached back to where they came from to try to make it better.  As I look around in “the hood,” that spirit is lost. As my friend Dennis Wallace says, we need to put the neighbor back in neighborhood. 

Why do we need Hip-Hop? Because it’s woven into the fabric of society at large.  It is a culture that crosses color lines and national borders. It has infiltrated Main Street, Wall Street, and Church Street. While it does not look like your father’s Hip-Hop, there are still those elements that have value for the future. Were this not true, it would have gone the way of disco, doo-wop, and go-go music. Instead, it continues to grow, as younger generations hear and are inspired to continue the legacy of what the founders called Hip-Hop.

That’s My 2 Lincolns^TM

-Pastor J

Hip-Hop's Universal Appeal

So a little while ago we talked about Hip-Hop and marketing. In the post I mentioned a movie trailer that I had seen, that had "Everyday I'm Hustlin" boomin in it. I wasn't really paying attention to the commercial because it was one of those movies that didn't interest me, but that beat always commands attention. So I couldn't remember the name of the movie, but here it is...

I wonder how many black people are gonna go see this movie. I'll be honest and say that after watching the trailer a few times I thought it looked pretty funny, but I'm gonna guess and say that the faithful fans of Tyler Perry and Taraji P. Henson won't be turning out in droves to see this one. Aside from that, I wonder if Rick Ross has seen this. If so, what was his reaction? Maybe he just smiled and shook his head like I did. Maybe he was proud that this song of his has caught on the way that it has. I remember hearing Katt Williams talk about how the song speaks to everybody who in some way shape or form is hustlin and grindin toward a goal.

So what's really funny to me about this is that there's like two black people in the entire trailer, but the whole thing is dominated by Hip-Hop beats and rap songs. Absolutely amazing! They say, sex sells. Apparently, Hip-Hop sells too.

Why We Need Hip-Hop (Pt. 1)

Meade Adams is a pastor, author, poet, and
music lover who hails from our nations capitol.

We're glad to introduce a new series entitled "Why We need Hip-Hop." In this First installment we are blessed to sit at the feet of a gifted young author, Pastor Meade Adams. Meade is the Youth and Young Adult Pastor at Dupont Park SDA Church, in Washington, D.C. He is also a spoken word artist and poet and has published a book containing his poetry entitled, So Let it Be Written. A long time Hip-Hop lover, Pastor Meade has written and blogged about current trends in Hip-Hop culture. Check out his blog at meadesmind.blogspot.com. 

There are few musical styles that have dominated and influenced popular culture in the last 30 years more than Hip-Hop. It can be found blasting in stereos from New York to California. Its rhythms and bass lines can be heard from urban clubs in Japan to the bush in Africa. It’s everywhere; and it’s not going anywhere anytime soon.

However, Hip-Hop is not primarily meant for Japan, Africa or Europe. Hip-Hop is American music. It is black music. As Yasiin Bey (formerly Mos Def) pointed out on Ice-T’s documentary Something From Nothing: The Art of Rap, Hip-Hop was not meant to be “pop” music…it was folk music. Something original that came from the people for the people. It is urban poetry. Just as the Blues represented the oppression of the Mississippi delta and voiced its pain and bellows through the medium of “field poetry”, Hip-Hop represents the plight of inner-city African-Americans post-Civil Rights. It is street poetry. It was the angry voice of a group left to rot in the slums of New York after the lofty promises of the Civil Rights Movement.

            Melle Mel’s iconic track “The Message” best encapsulates this idea. He raps “Don’t push me cause I’m close to the edge/ I’m trying not to lose my head/ It’s like a jungle/ sometimes it makes me wonder/ how I keep from going under…”. This “concrete jungle” was the birthplace of Hip-Hop. Some ask, “Why is Hip-Hop so gritty? Why is it so angry?” Those who ask this question should be told to go visit the Bronx, and the housing projects of Brooklyn and Queens and they will have their answer. It is amazing to me that in the midst of such drastic conditions that these young black men expressed their ideas and rage through the medium of art and music. This music gave a voice to the voiceless. It was the artistic outlet of a community.

Hip-Hop is the world's original music
because it is the voice of the oppressed. 

            In my opinion, Hip-Hop is the world’s original music. At its innermost core it is comprised of the spoken word over the drum. This is the language of ancient African griots that recited hundreds of years of history with only the drum for accompaniment. It is the language of the Native American tribes that gathered together around the sacred drum to pass the stories of their people down to their children and grandchildren. Hip-Hop carries on this ancient tradition because at its best, it is storytelling. It tells the stories of the people (where they are) and captures the dreams of where they want to go.

            We should not forget, however, that Hip-Hop is not just music, but it encompasses other cultural elements. It has its own language, clothing style, dance and art. It is graffiti, beat-boxing, break-dancing, DJ-ing and emceeing. It is a culture. Some criticize it for its glorification of “broken English” or “Ebonics”. What these critics fail to realize is that Ebonics does in fact have links to authentic African languages. It is the “code” that slaves spoke when they wanted to speak openly in front of the master. It is our Swahili. It is our patwa.

 It has provided identity to countless black and brown boys and girls trying to find their niche in the world. For those brave enough to take up the mic or the pen and the pad, they have found it to be their closest friend. It has been a companion that understands exactly what they’re going through. It’s been there for them, and it allows them to express themselves through this powerful medium.

            Where would the black community or even the world be without Hip-Hop? Some may say it would be better off. In truth, there is a sense in which Hip-Hop has lost its way. But it will be back. In order for a tree to grow, a seed has to first fall to the ground and die. Nas told us years back that “Hip-Hop is Dead.” If this is true, then it is only temporary. Sometimes death is necessary in order to achieve new life. This new life manifests itself in the promise of new and old artists that understand the history and the power of the art like Lupe Fiasco, Kendrick Lamar, Common, Nas, Kanye West, and countless others that have not gained mainstream recognition.

            So where would the community or world be without Hip-Hop? It is an empty question, for Hip-Hop is here, and is here to stay.

Shalom

"Welcome to My Hood" (P&P vol.2)

Here we go again with the second installment in the Praise & Problems (P&P) series. Once again, P&P will review some of the most popular rap videos on youtube in an effort to celebrate the strengths of Hip-Hop and critique the weak spots in order to encourage greater growth in Hip-Hop and Hip-Hoppers. If you missed the first P&P installment, check it out here.

In our first P&P post we discussed a hood anthem featuring Rick Ross. I love hood anthems. But I mean, what true hip-hopper doesn't? So I figured why not take this second installment, and feature another hood anthem? And we have chosen none other than DJ Khaled's "Welcome to my Hood." Originally released in 2011, This song guest features some of the biggest names in southern Hip-Hop; T-Pain, Lil Wayne, Plies, and of course, Rick Ross. Boasting nearly 16 million views on youtube, and a remix with more than twice the rap stars and another 3 million views, I think it's safe to say, this one goes hard. Let's check the video again.

Praise: It's a Family Affair

Once again, we always wanna start with the positive. There's a few things I really like about this song and it's video. I think the thing I like most about this song is the hook. Welcome to my Hood!

Oppressed people must often band together to
meet the challenges of a depraved community.

I like how T-Pain says  it, "Everybody know everybody, and if I got it everybody got it." Maybe you're afraid when you drive around the hood because you don't know anybody, but in every hood I've ever lived in it's just like T-Pain said, "everybody know everybody." It's just like a big family. There''s often a strong sense of community and connectivity. I'll admit that ghetto communities have lost a lot of that familial flavor, but it still exists in many ways. That leads me to the other point. I spoke about this a little bit in the first P&P post and here it goes again. The poverty and degradation in the hood demands that oppressed people band together. So when he says, "if I got it everybody got it," it's a perfect description of how the hood pulls together when the need presents itself. 

My favorite verse (by far) is Plies'. when I'm listening to this dude describe the hood, I feel like I'm at home. Stealing cable, waiting out probation, garnished checks for back child support, eviction notices from shady property managers, and all the rest. As grimy and as detestable as it can get, it's home; and we learn to make due and appreciate the goodness that it does have to offer. I love the hood. Growing up in the hood demands a certain type of resiliency and toughness. I learned so many lessons from the street fights, poverty, drug abuse (S/O to Harry-O), and all the rest that I utilize regularly in my everyday life. It's long been said never judge a man until you walk a day in his shoes. Let's make those shoes air force ones and let's take that walk around my block in my hood.

Problems: Tell Me a Little More About Yourself
I'm not sure what Rick Ross and Lil Wayne were thinking. I suppose Lil Wayne was really excited about being out of prison because all he talked about was himself. I didn't get much about his hood.  Even less though is the content of Rozay's verse. I mean, rapping about one's hood/upbringing has got to be the easiest and most oft repeated themes in Hip-Hop. If you can't rap about your hood then I'm worried as to whether or not you can actually rap at all. However, it's not that they simply failed to rap about their hood, but rather that they talked so much about themselves.

Slick Rick shows proof that braggadocio and swag
isn't new, but rappers must pursue a greater good.

I've said it before, braggadocio is not new to Hip-Hop, but it often appears that the loudest voices in a lot of today's rap music are simply painting self portraits of their latest, wildest, most expensive exploits. Maybe it's the ultimate form of celebration having made it out the hood...then again, maybe not. Maybe it's just a sad display of new-school narcissism.  Maybe that's why more people don't give back to the hood. They have no intention of coming back to develop the community, they just came back to stunt and shine.

Again, I love the hood. But, with all the challenges that we're facing, we've got to commit to community development, family enrichment, and education reform. Welcome to my hood, where everybody needs everybody, and if we get it everybody got it. We're all in this together. That's my prayer. Welcome to my hood!

Rakim on Generations in Hip-Hop

Hip-Hop is aging, and with the aging comes the changing and rearranging. In this video, Hip-Hop great Rakim speaks about the evolution of rap and the challenges that come with the aging of Hip-Hop and pioneer hip-hoppers. Take a look and consider how you have seen Hip-Hop change over the years.