Rakim has been in the rap game for over three decades and has just release a new album. The legendary rapper came up in the game as the rap genre was just developing in 1987 and he is commonly known as “The God” among hip hop fans. His duos debut album, Paid in Full, is considered a turning point in the golden age of hip-hop.

           In his early years in rap, Rakim spent much of his time in the parks where rapper and DJs would perform. The interviewer spoke of the safety issues in the area and Rakim expressed a magical experience right on the cusp of hip hop where he absorbed all of the new styles rappers were experimenting with. His sense of security, even in a dangerous place, felt similar to the woman in Rize who expressed comfort in the familiar surroundings of her unsafe neighborhood. She also pursued art as a way to express the emotional toll everyday hardships caused.

Rakim’s works have delved into serious contemporary issues such as absentee black fathers, gang violence, racism, and politics. The ongoing prevalence of these issues and the others he has confronted proves the staying power of his work. It also vindicates his ideas to his followers and broader audiences. Rakim has an extensive following of loyal fans who have developed moral communities based on the ideals Rakim presents in his music. Rakim has fought to develop his image outside of the stereotypical gangster, ladies’ man, rapper persona that is so common throughout hip hop. He has focused on his values and portrayed them through his music. His song “Holy Are You” off his 2009 album The Seventh Seal uses his astounding lyrical skills to encourage listeners to pursue religious faith. He portrays himself as a translator between God and the people. His lyric “Men are God” is related to KRS One’s “Higher Self and Our Perception of Reality” through their common connection that mankind essentially composes God. Both artists also question traditional religious beliefs, Rakim’s lines “Walk on water? Nah, neither did Jesus; It's a parable to make followers and readers believers” question the validity of some Biblical stories and KRS One questioned who God truly is if we cannot know his face. Both KRS One and Rakim also suggest that God connects directly through people and a designated religious conduit through a minister is not entirely necessary.

Furthermore, both Rakim and Tupac incorporated their faith into their work in order to seek reconciliation between divided groups of people. Rakim could also be viewed as a sort of prophet through his grand ideas of reconciliation between all people and his perspective on the bigger picture. He has even joined The Nation of Gods and Earths and adopted the name Rakim Allah.

The Essence article “9 of the Best Hip-Hop Gospel Songs” authored by Keyaira Boone focuses on the openly religious songs many popular hip hop artists have written. On the tails of Kanye West’s release of Jesus is King, many other rapper’s gospel songs are resurfacing such as Christian rapper Lecrae’s “Blesssings” featuring Ty Dolla $ign and Chance the Rapper’s “How Great” featuring Jay Electronica and The Lights.

               Traditional religions including Islam and Christianity have long been included in Hip Hop music from big names such as Tupac to current artists such as Jay Z and Beyonce. One of the most surprising artists on the list was Nicki Minaj’s feature in “I’m Getting Ready” with Tasha Cobbs. Nicki Minaj is well-known for her skimpy outfits and somewhat crass lyrics that can often be seen as examples that separate Hip Hop from religion. However, this is a perfect example of shattering stereotypes in Hip Hop mixing the sexy Fly Girl persona with religion and well-timed rap verses.

              Well-known Christian hip hop artist Lecrae has also released music that spits in the face of many hip hop stereotypes. In his song “Blessings”, Lecrae stresses that the material and financial benefits that are often bragged about in hip hop are not the ultimate goal or route to happiness. He emphasizes showing love and spending time with family over making more and more money. Another lyric in this song, “. . . all we need is all we got” is similar to KRS One’s line that “value is not what you have but what you can live without”. Both artists are trying to share the message that material wealth is insignificant when compared to human connection and that love is the only path to true happiness. This idea is also related to Tupac Shakur’s hope to bridge the divide between races and classes through love and understanding. In addition, DMX’s “Lord Give Me a Sign” is reminiscent of Tupac’s “Thugz Mansion” because both rappers are seeking guidance and acceptance from their God.

All of these artists are essentially serving as translators of traditional religious ideas to make them more palatable and relevant to current issues and audiences. People are also more likely to participate in a religion if they see a person who looks like them involved with preaching. It is easier to believe one’s connection to God if they have an example of someone from their hood, their background, and their struggles who still carries the faith proudly.  

XXL magazine’s Vernon Coleman compiled a list of the most disturbing hip hop songs in celebration of Halloween. Some of the relatively horrifying topics of the songs include detailed storylines of premeditated murder, spiraling drug dealers, crazed psychiatric patients, and seances. Though this article was written as a spooky hip hop addition to the Halloween season, a deeper dive into some of these songs show the artists’ state of mind. It takes a twisted moment in one’s mind to create and deliver some of the images developed in these songs with such haunting accuracy.

Talib Kweli’s “Hell” and KRS One’s “Higher Self and Our Perception of Reality” reference the idea of hell existing on earth within peoples’ minds. The lyrics in Eminem’s rap titled “Kim” tells a story of heartache and confusion turning to rage and revenge. The type of anger that spurs homicidal thoughts of revenge comes from a place of deep pain and betrayal so this song may represent a moment in Eminem’s life where he was in his own internal hell. Kid Cudi’s song “Maniac” paints a picture of the monster and darkness he sees within himself. This idea builds on the premise that hell is truly a part of each of us. Each person’s hell is unique to their fears and pain. Kid Cudi lyric refers to the monster that “lives inside of me eating whats in its web”. The metaphor of a spider web refers to the ease at which the metaphorical darkness or hell can consume a person so easily. The imagery of a spider with all of its long grasping legs produces a spine tingling sensation that such darkness is always present even if one cannot see it.

Esham’s lyrics in “Nine Dead Bodies” paint increasingly graphic images of people being mutilated in various ways. This song can be viewed as evidence of the artist’s blatant detachment from death and violence, most likely from overexposure. Esham’s career was influenced by his experiences growing up in Detroit, Michigan where violence, drugs, and alcoholism plagued the streets. His previous albums directly referred to the hood of Detroit as “hell” which relates back to the last line of Talib Kweli’s “Hell”: “… if you ever been to any ghetto, then you know it [Hell] well.”

These artists portray some of the darker sides of religion and hip hop. The dark and morbid images highlight some of the worst pains and realities people can internally face, relating to the Self vs Self conflict classification. This interpretation of hell and religion furthers the idea of Hip Hop having its own moral and spiritual set of beliefs.

Sanibel Chai’s article “Rap is Therapy: Songs for Your Mental” for HotNewHipHop.com highlights an important aspect of Hip Hop that is often overlooked by mainstream society. Hip Hop is much more than entertainment it is an outlet for releasing stress, fears, joys, and every human emotion in between, almost like a form of prayer and meditation for the artist and the listener alike.

One of the most commonly recognized ceremonies in western religion is church communion wherein the believer’s union with Christ is celebrated in a group setting. Communion also refers the sharing of intimate thoughts and feelings on a spiritual level. The shared experience that is fostered through Hip Hop music is a form of communion between the artist and their listeners. The direct stories of police brutality, violence, and drug abuse connect in a way that is seemingly unique to Hip Hop. Very few other large genres of music are associated with such brutal and current truth bombs.

The songs discussed in this article are intended to serve a purpose and carry meaning to the artist’s audience, unlike some more commercialized types of hip hop. The intentional deeper meaning in these lyrics represent the underground aspects of hip hop that are more successful in building deeply connected communities. Hip Hop serves as a therapeutic connection between inner-city communities across the country. The senses of belonging and hope are similar to the fellowship found in churches. This is evident in the movie Rize where groups of youth find freedom, unity, expression, and escape through performing in the Hip Hop community. The clown culture is an excellent example of a religion like system of interactions and authorities. There are sacred spaces and ceremonies that specifically allow for the type of faith-based release and connection emphasized in communion. The faith they have is also in each other and the family they have developed in the clown community, not in a deity alone, creating a more powerful synergy in the group.

Furthermore, this article represents the need for self-care and self-reflection that was emphasized in KRS One’s “Higher Self and Our Perception of Reality”. Using rap music as a therapeutic method during hard times encourages the listener to consider their own reality in an unintimidating delivery. Most people would be defensive if a family member asked them to truly think about their lives, but when a hip hop artist encourages it, it creates a window of opportunity for youth to consider their surrounding and the potential changes they could make.  

Eric Weinrib’s Vice article on hip-hop in Russia brings to light the ongoing struggles and protests of young Russian hip-hop artists that are remarkably similar to those of their American counterparts. Weinrib portrays Russian hip-hop as the voice of a generation and the instrument of change in a country that is well-known for oppressive regimes. This perspective of hip-hop plays into Geertz’s definition of religion. 

The Russian hip-hop industry has been suffering from severe suppression in the form of the government cancelling performances from numerous artists across the industry. This series of events is reminiscent of 2 Live Crew and NWA’s battle with censorship in the 1990s. It is more closely related to NWA because the censorship is based on political ideals, for NWA it was related to police brutality and inner-city struggles and for the Russians, like the rapper Face, it includes everything from financial corruption to election meddling. Similarly, the censorship of these artists is greatly increasing their publicity and fame. The same way American youth rallied behind their icons, the Russian youth are protesting more and successfully rallied for the release of a rapper named Husky who was arrested for “hooliganism”. The article also touched on an important difference between American and Russian censorship. While American are fighting for equal rights and representation, they can identify the sources of the issue and when they are censored, they know which agencies and organizations are behind it. However, the Russian artists are subject to cancellations and censorship that does not have a clear face. Whoever cancelled many of their shows did not publicly identify themselves. This undefinable sense of an enemy unknown contributes to the sense of mystery and moral belief that surrounds their music. They are fighting an unknown establishment which removes some of the “us versus them” ideology that is common in American racial tensions. 

Russian hip-hop culture is producing imagery and symbols that a broad range of audiences are genuinely associating with revolution and change. The stage, music, and common themes throughout their community “establish powerful, pervasive, and long-lasting moods and motivations” that are associated with Geertz’s definition of religion. The constant barrage against the corruption of the Russian government and the current state of Russian society develops such a strong image for Russian hip-hop listeners that it does create the “aura of factuality” necessary for Geertz’s conception of religion. Clearly, their music is having an effect on society or the government would not be so adamant about censoring it.

Eddie Murphy’s new Netflix film, Dolemite is My Name, focuses on the true story of an up and coming performer, Rudy Ray Moore, who earned fame by adopting the persona of a pimp named Dolemite and delivering raunchy jokes in the form of rhyming poetry. Rudy Ray Moore’s jokes were based in the African American storytelling tradition called “toasting” and his performances that included rhyming jokes over jazz music influenced early rappers. Moore was also known for preaching in churches before he gained acclaim as Dolemite and his tenacious pursuit of African American representation in the industry developed a sense of fellowship and purpose in his fans and crew members.

Multiple aspects of Rudy Ray Moore’s career are related to topics discussed throughout the Hip Hop and Religion class including underground hip hop, sexism in hip hop, and issues with viewing hip hop as a religion. Moore’s first successful comedy records were recorded in his home during parties. He used the parties as a type of sounding board to test out his new material before publishing the record and performing to more public audiences. This artistic foundation is similar to the beginnings of many disk jockeys, emcees, and rappers such as Tupac, DJ Cool Herc, and NWA who began their careers in underground parties within their communities. In addition, Moore’s first comedy albums were self-produced and sold out of people’s trunks because the mainstream industry did not see the potential in his work. This is also similar to NWA’s beginnings in Compton. Furthermore, Moore’s vulgar, yet hilarious jokes and album covers were deemed indecent and unsuitable for “respectable” audiences, so his records were not marketed or sold on record store shelves. Instead, they were sold from back behind the counter as customers asked for them. This early version of censorship was a precursor to the backlash faced by 2 Live Crew and NWA with respect to their albums. Mainstream white society and the music industry worked tirelessly to silence these artists’ works regardless of their fame in the African American communities, in turn making these albums part of the underground despite their successful sales. Moore was so prominent in early rap he was included in rap albums with Snoop Dogg, Busta Rhymes, and 2 Live Crew.

Though Moore’s work represents the obscener side of Hip Hop influences, the impact and community he built through his groundbreaking art provided people with an “instituted process of interaction among the members. . . which provides them with meaning, coherence, direction. . .” that is described in Klass’s definition of religion. There is no stipulation in any of the provided definitions of religion that a religion must be based around something chaste, pure, or anti-sexual. In fact, most of the definitions refer to the feelings and fellowship experienced by the members of the religion, not the specific topic of the religion. Society’s connotation of traditional religion is the main factor that prevents Hip Hop and other cultures from being recognized as a religion.  

Cherise Johnson’s article in HipHopDX about famous artists’ halloween costumes highlights some of the diversity and inclusion that could be used to argue in favor of Hip Hop as a religion. While Halloween is intended to be carefree, Hip Hop celebrities’ choices in costumes still deliver a message to their audiences and followers, especially their young fans. 

Johnson’s choice in celebrity costumes for her article provides an excellent diversity of images and role models within mainstream Hip Hop. Megan Thee Stallion, Nicki Minaj, and Kehlani’s costumes portray a sexy version of female Hip Hop artists that some people might argue is overtly sexual and inappropriate for young fans. However, Cheryl L. Keyes would likely argue these women portray the image of the “Fly Girl” by owning and flaunting their bodies and their sexualities. Unlike many of the marketing strategies associated with artists in the mainstream hip hop industry, the artists’ halloween costumes were their personal choices and reflected how they wanted to portray themselves further solidifying the “Fly Girl” identity. The article also featured Jhené Aiko who is a mixed race American hip hop artist. Her ethnic background includes Spanish, African-American, Dominican, Japanese, Native American, German, and Jewish descent. While her specific ethnic background is not referenced in the article, her feature represents a lessening of racial divides in Hip Hop and provides a positive representation for youth of mixed ethnic backgrounds. Monica’s Fiona from Shrek costume and Ciara’s Beyonce costume also represent non-sexualized images of women in Hip Hop. Ciara’s hommage to Beyonce also represents the prevalence of Keyes’ idea of a “Queen Mother” persona in Hip Hop. Beyonce represents an overlap between and “Fly Girl” and a “Queen Mother” in her open embrace of her sexuality, intellect, and African heritage. 

The intentional inclusion portrayed in this article follows some of the “love thy neighbor” ideals represented in many traditional religions and makes Hip Hop accessible to a broader range of people. These diverse portrayals of women in Hip Hop provides the opportunity of choice for young women who view these artists as role models. This article is an example of the space created in Hip Hop for unique identities and self-determination that is common throughout Hip Hop. Developing a unique “look” is related to the self-naming tradition that is important among rappers and performers. This ideal helps in portraying Hip Hop as a religion because it inspires hope and community for young women and begins to unravel the sexist arguments that are used as ammunition against Hip Hop as a religion. 

Christine Emba’s insightful opinion piece offers an interesting perspective on religion in relation to younger generations. She writes that the decline of traditional religion, and the rise of “convenient, low-commitment substitutes for faith”, signifies a decline in community fellowship and an increase in general societal unhappiness. However, she overlooks the introduction of new, modern forms of religion such as Hip Hop.

In the piece, the author provides examples of substitutes for faith such as astrology, yoga, and social media. Her claim is that these habits replace the time and energy that used to be spent in church activities that fostered communities. While there is some truth to her ideas, they neglect the presence of alternative forms of fellowship found in communities such as Hip Hop. For example, in the movie Rize, the clown groups fostered a sense of purpose and communion that was reminiscent of a church-based community. This in turn developed a more relevant and modern form of a congregation that helped members deal with their everyday lives. The cypher and battle grounds of the Clowning community also harken back to African religions and offer an example of a “process of interaction” that qualifies as a religion under the Klass definition.  In addition, while Emba claims younger generations have chosen convenient and low-commitment lifestyles in exchange for church sermons, it seems like Hip Hop culture is almost more of a commitment than current traditional century religions. Taking Tupac, the Clown crews, and NWA as examples, Hip Hop is a 24/7 commitment to the hustle, whereas many people today see religion as attending church once a week.

In another example of modern religion, KRS-One discussed in his spoken word, Higher Self and Our Perception of Reality, that “value it is not what you have, but what you can live without” and that “God is not outside of human perception”. Hip Hop works like KRS One’s bridge the gap between traditional religion and modern practices. It has similar ideas to Christianity because Jesus was portrayed as a good person for living without the luxuries of his time and it invokes a sense of spirituality. Examples from class including the roller blader in PB who gave up a lucrative career as a doctor and the older woman who lived on the cruise ship both embody this type of value and both people have developed a sense of life purpose from it. In addition, KRS One’s work turns the conventional idea that finding God requires a church and a minister, instead it asks followers to seek their own perception of a God. These revolutionary ideas within Hip Hop do not merely serve as a substitute for faith as Emba describes, but instead foster a new, modern form of religion. 

It seems religion may not be in such a dramatic decline; our society’s common definition of may just be outdated.