View the Table of Contentsbr>Read the Introduction.
"Both a scholarly book and a pleasurable read."
--"QBR"
"In moving beyond the common misconception that rap is simply a
secular expression, this volume offers a refreshing discussion
about the tensions that exist between the sacred and profane. It
foregrounds the spiritual and religious dimensions of rap music and
the genre's interpolation and critique of Buddhist, Islamic,
Christian, Rastafarian, and Humanist thought in an unprecedented
way."--Cheryl L. Keyes, author of "Rap Music and Street
Consciousness"
"Cutting through the din of confusion and controversy
surrounding hip-hop, "Noise and Spirit" illuminates the spiritual
struggles a the root of the music and the culture. The essays
collected here brim with the energy of discovery and engagement,
and leave no doubt that Tupac, KRS-One, and Queen Latifah are
carrying on the tradition of Al Green, Mahalia Jackson, and the
'black unknown bards' who forged a redemptive vision in the fires
of a furnace that continues to burn."--Craig Werner, author of
"Higher Ground: Aretha, Stevie, Curtis and America's Quest for
Redemption"
""Noise and Spirit" is a thought provoking collection of
empirical works that ultimately offer even the most reluctant of
scholars a great vantage point from which to build on a continuing
examination into, and further discussion of, the fragile and often
contentious alliance between rap and religion. This is clearly a
definitive work worth reading." --"The Sociology of Religion"
Rap music is often seen as a Black secular response to pressing
issues of our time. Yet, like spirituals, the blues, and gospel
music, rap has deep connections toAfrican American religious
traditions.
Noise and Spirit explores the diverse religious dimensions of
rap stemming from Islam (including the Nation of Islam and Five
Percent Nation), Rastafarianism, and Humanism, as well as
Christianity. The volume examines rap's dialogue with religious
traditions, from the ways in which Islamic rap music is used as a
method of religious and political instruction to the uses of both
the blues and Black women's rap for considering the distinction
between God and the Devil.
The first section explores rap's association with more easily
recognizable religious traditions and communities such as
Christianity and Islam. The next presents discussions of rap and
important spiritual considerations, including on the topic of
death. The final unit wrestles with ways to theologize about the
relationship between the sacred and the profane in rap.
General
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