So I was takin' a walk the other day, and I seen a woman—a blind woman—pacin' up and down the sidewalk. She seemed to be a bit frustrated, as if she had dropped somethin' and havin' a hard time findin' it. So after watchin' her struggle for a while, I decide to go over and lend a helping hand, you know? "Hello, ma'am, can I be of any assistance? It seems to me that you have lost something. I would like to help you find it." She replied: "Oh yes, you have lost something. You've lost... your life." [sound of a gunshot]This is the story of Good Friday. Christians remember Good Friday as the day that Jesus was executed. Fully divine and fully human, Jesus entered human history amongst its struggle and sought to lend a helping hand by modeling a new way to live centered around love of neighbor. Jesus offered assistance. For this, Jesus was killed. On Good Friday, 2017, these words introduced the release of Kendrick Lamar’s newest album, DAMN. Lamar’s normally aggressive and quick words are countered with softness as the song BLOOD. serves as the album’s preface. At the end of this metaphor, the man offering assistance is killed. Throughout this album, Kendrick aligns himself with the Crucified Christ. In the song, DNA, Kendrick is both “Yeshua’s new weapon” and seen as “an abomination”. His very DNA places him amongst a minority culture, thus making him a threat, described by the soundbite voice of Geraldo Rivera as being a part of hip hop music which has done “more damage to young African Americans than racism in recent years.” Ironically, the song Rivera criticized, Alright, is one in which Kendrick offers hope and encouragement, that against the struggles of life he repeats “we gonna be alright.” “Alright” has become an anthem of the Black Lives Matter movement. Yet, despite the song’s claim of assurance, Black DNA makes him a threat to dominant American culture, just as Jesus’ words of inclusion threatened the political and religious powers of the Roman Empire. Within popular music, there may not be a more powerful voice in 2017 than Lamar. When Beyoncé had to cancel her Coachella music festival appearance, it was Kendrick that replaced her with a lauded performance. A recent survey of music reviews came to the conclusion that Kendrick is the highest rated performer of the 21st Century. Despite all of the critical and commercial success, Kendrick does not exalt himself in praise, but places himself amongst struggle. He does not see himself as exalted, but views himself from his Compton roots. He aligns himself more with the Crucified Christ than Glorified God. He wonders if success will last and asks in the song FEAR., “All this money, is God playin' a joke on me? Is it for the moment, and will he see me as Job?” Just as Jesus found disciples asleep in the garden and found himself abandoned on the cross, Kendrick’s repeated cry echoes across multiple songs on the album “aint nobody praying for me.” But while Kendrick often feels trapped within his Compton roots and culturally alienated, he finds unity with God. The song GOD. unites God’s and Kendrick’s shared perspectives. The song begins with God saying, “this what God feel like.” Kendrick responds that “ever since a young man” God has been watching over him for his whole life. After describing the behaviors Kendrick used to and is still doing Kendrick says “don’t judge me”. and God responds “who are you talking to, do you know who you are talking to”. And then he says all of the things that God says like “everything I touch is a gold mine.” The song finishes with both God’s and Kendrick’s perspective talking with each other. Kendrick’s struggle, unified with that of the Crucified Christ, is powerful, but is not a lone voice. The most noteworthy winner at this year’s Grammy’s was Chance the Rapper who despite being a self-published artist without a record label won best new artist, best rap album, and best rap performance. Chance’s lyrics mix unashamed praise for God with the reality of his experience growing up in Chicago. In the midst of singing about praises and blessings, Chance makes the same connection as Kendrick between contemporary struggle and the Crucified Christ with the statement, “Jesus black life ain’t matter.” The latest album by Logic, “Everybody” is also filled with theological questions. The album includes an exchange with the voice of Neil deGrasse Tyson as the voice of God in which the meaning of life is explored. But as noted in Kendrick Lamar and Change the Rapper, these are not mere philosophical wonderings, but connect to modern life. In the song “Confess” Logic asks: “Dear God, I just wanna know why, Why do you put us here? Why do you put us below? Why do you put us subservient?” Across the spectrum of modern rap music, questions of where God can be found are being asked. Most often, God is found amongst the struggle. God’s voice is speaking from the streets. The prophetic voice is not only coming from the pulpit, but from the microphone.
I want to suggest a new spiritual practice—one that will be uncomfortable for many people. I want to implore the Church to reframe its understanding of the cross. While the cross (and resurrection) makes reconciliation possible for us, our understanding of the cross must begin with it as a sociopolitical tool of the Roman Empire. […]
The world was created by Christ and for Christ (Col 1:16). At the center of God’s purpose for creation is his plan to unite himself to us in Christ, reveal himself to us through Christ, and share his life with us by incorporating us into Christ. We don’t know what ...