Noise and Spirit: The Religious and Spiritual Sensibilities of Rap Music PDF
Preview Noise and Spirit: The Religious and Spiritual Sensibilities of Rap Music
Noise and Spirit Noise and Spirit The Religious and Spiritual Sensibilities of Rap Music edited by Anthony B. Pinn a New York University Press new york and london New York and London www.nyupress.org © by New York University All rights reserved. Library ofCongress Cataloging-in-Publication Data Noise and spirit :the religious and spiritual sensibilities ofrap music / edited by Anthony B.Pinn. p. cm. Includes bibliographical references and index. ISBN–––(alk.paper) — ISBN–––(pbk :alk.paper) . Rap (Music)—Religious aspects. I. Pinn,Anthony B. ML.N .—dc New York University Press books are printed on acid-free paper,and their binding materials are chosen for strength and durability. Manufactured in the United States ofAmerica Dedicated to the “Spirit”ofrap music and the Ancestors who nurture it Contents Acknowledgments ix Introduction Making a World with a Beat:Musical Expression’s Relationship to Religious Identity and Experience Rap and Religious Traditions African American Christian Rap:Facing “Truth”and Resisting It Garth Kasimu Baker-Fletcher A Jihad ofWords:The Evolution ofAfrican American Islam and Contemporary Hip-Hop Juan M.Floyd-Thomas Rap,Reggae,and Religion:Sounds ofCultural Dissonance Noel Leo Erskine “Handlin’My Business”:Exploring Rap’s Humanist Sensibilities Anthony B.Pinn Rap and Issues of“Spirit”and “Spirituality” Bringing Noise,Conjuring Spirit:Rap as Spiritual Practice Mark Lewis Taylor Rap as Wrap and Rapture:North American Popular Culture and the Denial ofDeath James W.Perkinson vii viii Contents The Spirit Is Willing and So Is the Flesh:The Queen in Hip-Hop Culture Leola A.Johnson Rap and the Art of“Theologizing” The Rub:Markets,Morals,and the “Theologizing”ofMusic William C.Banfield Rap,Religion,and New Realities:The Emergence ofa Religious Discourse in Rap Music Ralph C.Watkins Selected Bibliography About the Contributors Index Acknowledgments Jennifer Hammer and I first talked about this project roughly six years ago. I am grateful for her persistence as I moved from reluctance to deep interest in working on this volume.I must also thank Jennifer for her attention to this project and helping me bring the pieces together.In addition,I would like to thank the contributors to the volume for their encouragement and participation in this project.In general terms,the Department of Religious Studies at Macalester College has always encouraged my work (Jim,thanks for supporting my request for time away).In particular,Allen Callahan read early drafts ofthe introduction and my essay for this volume,and I appreci- ate his helpful suggestions and challenge to my interpretation ofrap music. Our administrative assistant, Toni Schrantz, and our work-study students (particularly Liz Kaziunas,Sarah Chamberlain,and Chrissy Blank) helped me complete this manuscript and handled other tasks for me, thereby al- lowing time for this project. Thank you. I am particularly grateful for the insights ofKwame Phillips,who worked as my research assistant during the summer of.And,as always,my former student Gregory Colleton helps me think through the nature ofhip-hop culture. As always, I am thankful to my very good friends who provide mo- ments of laughter and much needed “balance.” Thank you: Benjamin Valentin,Eli Valentin,Rámon Rentas,Robbie Seals,and a host ofothers. Finally,and most importantly,my wife,Cheryl Johnson,has shown me great patience and support.Without her understanding this project would have taken longer to complete and would have been much less enjoyable. (Thanks,“Rev.Ma”and Mother Harris!)
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