
Hip-hop and Jesus Christ are not synonymous; however, the two are drawn together through a “sense” of spiritual reconciliation. Christians contend that the Bible offers hope and understanding to those that are lost. The hip-hop artist also contends that his lyrics offer a “sense” of hope and salvation, much like that of Jesus Christ. Religious historians have given very little attention to the impact religion has had on hip-hop and rap culture. Though, there is a natural juxtaposition here.
Edward Blum’s W.E. B. Du Bois presents Jesus Christ as a savior: a God who walked with communist, sinners, blacks, and others. The great debate, or post-modern questions is this: Who is Jesus Christ? Believers will tell you that He is the Son of God. He is a part of a complex matrix called the Trinity. Others will tell you that He is a great prophet who told moral tales in times of strife and chaos. Then there are those that find him to be too mythical to have ever existed in the current form that society knows him as. Historians look at Christ through multiple frames. Scholars of American Religion, such as Blum and Phillip Sinitiere, take a dynamic approach by juxtaposing Him as a savior of a race. But note, not that of the Jews – but of black folks. Blum discusses the Gospel according to Mary Brown and her child Joshua, who represents one of Du Bois’s black biblical characters, who found comfort among those who were societal outcasts. He, who was [the black] Jesus Christ, marched with the poor, with sinners, and communists; however, this Christ was not embraced by whites. Better yet, this Christ was lynched by the white South because they could not accept a Christ that accepted all people, especially the American Negro. Because of this, Joshua was killed by the very people who awaited him – the Christian South. Furthermore, much of the historical literature paints a deeply racist American South in which Christians often attend Church in the morning, only to lynch blacks in the evening. Hence, the topic of race, ideology, faith, and cultural norms has created a burgeoning sense of scholarship over the part decade. This is even true of myself; I am currently engaged in a book project with Sinitiere, as we analyze the dynamics of race and religiosity, as noted by our brief description:
…W.E.B. Du Bois and Religion: A Brief History with Documents (Forward Edward Blum, professor of History at San Diego State University) and co-edited by Edward Carson of Houston Christian High School and Phillip Luke Sinitiere, visiting professor of History at Sam Houston State University, is a collection of primary sources that reflect Du Bois’s thoughts on faith, culture, spirituality, and the political implications of religion. Documents include those that address religion from a sociological perspective, religious artwork, and spiritual fiction, among others. This collection also includes a timeline of Du Bois’s life, bibliography, and study questions.
Further, as noted above, this spiritual and racial personification can be seen through the lens of historical actors like Harriet Tubman, also known as black Moses, due to her efforts in rescuing enslaved blacks from the depths of the plantation system. Nat Turner, the enslaved leader of the 1831 slave rebellion, stated that God told him in a dream to free the colored people from their bondage, as well as killing their masters. Thus, his historical attack was one of the most noted. After such a rebellion, many slaveholders forbade Negro worship in isolation. Hence, allowing for integrated worship with whites.[1]Slaves heard the Old Testament tales of oppression by the unrighteous. Due to such oral examples, many looked to a hero – that being Jesus Christ.

The historiography of slavery is one that continues to be redefined. Though the topic of Negro religion has long been one of interest by historians, the mere impact of slave religion on modern culture is new. I hope to finish drafting a paper for UrbanFaith which examines the anthropological and historical impact Jesus Christ has had on both hip-hop and rap music; if one were to look at many artist and listen to their lyrics, there is often a sense of racial oppression due to modern-day conditions that date back to the historical roots of Nat Turner and Harriet Tubman.

Above: The late controversial rapper, Tupac Shakur, was a devote Christian. He addressed his pains and life as a gangster in his music. Thus, the rapper sought faith through his lyrics as a form of prayer. Note the lines from his rap song, God:
When I was alone, and had nothing
I asked for a friend to help me bear the pain
No one came, except God
When I needed a breath to rise, from my sleep
No one could help me.. except God
When all I saw was sadness, and I needed answers
No one heard me, except God
So when I’m asked.. who I give my
unconditional love to?
I look for no other name, except God
In a draft of my paper analyzing the significance of teaching the 1980s in United States history survey courses, I noted that urban blacks felt oppressed by a conservative government looking to enrich the wealthy, while impoverishing the poor at an alarming rate; I do not agree with this; however, my opinion is not relevant to a generation of hip-hop artist and rappers singing about the racial brutality imposed by the police. Rap music quickly conflated the role of gangs and religion; Jesus Christ was found as the head of the gang known as the Bloods; [H]e would rescue the youth from their enslavement of American racism. To many black urban youths, this figure was that of Tupac. Though dead to many, he still lives and walks the earth by way of his biblical lyrics. Blacks praise Tupac for his lyrical style often found in the confines of the church assembly. The emotion of a man that offered hope to many was witnessed. And, though for only a short time, Tupac told of his death and eventual resurrection. Rap artist and hymn leaders within the black church have drawn from the historical suffering of black folks. Whereas the white church ask Christ to make them as white as snow, the black church ask Him to save them from their suffering. Both the artist and the church hymnal leader looked to the works of Du Bois, who in a private prayer to God, wrote this:
The South is crucifying Christ again
Christ’s awful wrong is that he’s dark of hue
The sin for which no blamelessness atones;
But lest the sameness of the cross should tire,
They kill him now with famished tongues of fire,
And while he burns, good men, and women, too,
Shout, battling for his black and brittle bones.
“The Black Christ” (1929)
O Form immaculately born,
Betrayed a thousand times each morn,
As many times each night denied,
Surrendered, tortured, crucified!
That love which has no boundary;
Our eyes have looked on Calvary (135-136).
[Source: James H. Smylie, “Countee Cullen’s ‘The Black Christ,’” Theology Today38/2 (July 1981): 160-73] h/t: Phil Sinitiere

Like that of Jesus Christ, Tupac created loyal disciples of his words. After predicting his death and eventual resurrection, Tupac’s cult lives well into the 21st century.

Above: Peter Gomes
Peter Gomes, a man I deeply admire for his scholarship, faith, and willingness to address his personal life[2], noted in his work, The Good Book: Reading the Bible with Mind and Heart, stated that American society all but looked to our great leaders and their devotion to Christ. He mentioned the born-again Christian in Jimmy Carter who took time to teach Sunday school classes while being the leader of the free world. Ronald Reagan, a man who sought to build the strength of America off of the values of Christianity.[3] Gomes praised George W. Bush for his professed faith in Christ, as well as his fervor for showcasing it, too. But, there is a disconnect when it comes to the faith of public official and that of black music artist. In the mind of the young black teen, public officials represent a societal paradox. Sure, they are great men, but often time they represent the constructs and authority in which urban youths are looking to teardown. This creates a vacuum. Young black Christians find their identity not in a government, but in the hip-hop/rap artist. The artist has taken on the role of apostle Paul, who made a number of missionary journeys in hopes of bringing the gospel of Christ to those that do not know him.
[1] Jason Young’s book, Ritual of Resistance, also discusses the first use of balcony gatherings during worship. Since whites felt a sense of obligation to bring the gospel of Jesus Christ to all people, keeping Negros from worshiping was thought to be sinful.
[2] Gomes is the Plummer Professor of Christian Morals and chaplain at Harvard University; he received a great deal of attention when he public announced that he was a homosexual in the mid 1990s. He contends to be a devote conservative Republican.
[3] Gomes did note that Reagan was part of the late 1970s cultural wars that witnessed the rise of the religious right. Moreover, this population played a major part in his election.