Ralph Basui Watkins
Baker Academic, 2011, 159 pp., $17.99

Admittedly at first glance at the title of this book I had two very different reactions almost simultaneously. The first was from my present as youth pastor and other was from my past as a teen listening to secular hip hop and rap. Either way I was intrigued and ready for the content of this book. The book tells the author’s personal story of becoming a fan of hip hop as an adult, explains the history of true hip hop with connection to its blues roots, and makes a case for the theology and redemptive qualities of hip hop. The first half of the book sets the stage well for the what of hip hop leading to the second half presenting the why and how.

Dr. Watkins has done his research and addresses the topic personally and intellectually. He tackles the normal concerns of the American church and its reactionary views to the music, the lifestyle and the scene. His rationale and defense is well-thought, while I admit I may not agree at every point. I, however, appreciate and love this raw and real book. With so much of rap and hip hop culture influencing our students no matter the context, this is a true resource. It may not be a book you hand to a student or parent, but it is a book that should be read by any youth pastor seeking to be more culturally aware and informed.

Hip Hop Redemption: Finding God in the Rhythm and the Rhyme by Ralph Basui Watkins is an engaging look at how to connect theology and bits of popular culture. It is a welcome addition to the Engaging Culture Series, which has invited us to interact with topics including film, pop culture, theater and art. The series seeks to “help Christians respond with theological discernment to our contemporary culture. Each volume explores particular cultural expressions, seeking to discover God’s presence in the world and to involve readers in sympathetic dialogue and active discipleship.” This sympathetic dialogue and active discipleship is evident in Watkin’s writing, which gives us a historical perspective on hip hop and his own journey of discovery of hip hop that serve for a context for our interaction. I appreciated the book’s structure, it’s unflinching engagement with what is sometimes a raw art form, and his desire to interact authentically and theologically with hip hop. The book itself could serve as interesting conversation points with youth, I would love to hear their reactions to his findings and theories. Most valuable for youth ministry, his is a great model for anyone seeking to engage popular culture and theology authentically, which for youth workers is an important task. I love this series and this was such a fascinating book!
—Susanne Bendoraitis

As I read through Ralph Watkins history of hip hop, I was reminded of many of the early days of rap and how we used to take some of the songs and use them for discussions in youth group. I do agree with his assessment that there is theology to be found in the words of hip hop and that God can be found in the music. It is also apparent that Watkins is passionate in his convictions about hip hop, but that is also causing him to justify his conclusions beyond a reasonable expectation. I cannot agree with him that all of hip hop—such as the sexist, mysoginist, etc. traits—that he mentions can reflect God as much as it may be reflecting Satan’s desire for the world. In his history, I was disappointed that he did not mention rappers such as PID, Michael Peace and DC Talk who helped bridge hip hop and Christianity.

Because of his passion and his stories, the book was easy to read and enjoy. Using this book, especially page 72, for youth groups is a strong possibility. Just the discussion of finding God in hip hop can be one use and discussions on this chapter. The questions on page 72 can be used when asking youth group members to bring in their songs, play them and use the questions as a guide for our discussions. There likely are more possibilities, but I will just mention these. Enjoy the book.
—Rev. David Taylor

This is book is not for your students, but for you students of youth culture. Professor Ralph Basui Watkins takes your hip-hop education seriously, as evidenced by his copious footnotes and further reading, listening and viewing lists. If hip-hop culture is an unfamiliar subject, Hip-Hop Redemption will introduce you to some major playas. Those at least vaguely familiar with the music, movies and mindset still will find it a source of historical information and insight. It must be said the fledgling genre of academic music writing lends itself to some awkward passages, and this book is not immune. It takes some time to train the ear to this constant vibration between ivy league and street-level diction, so chances are you will not sink immediately, deeply and comfortably into the writing; but a few chapters in, the book finds its groove. Watkins settles into his own flow, and the going gets easier for the reader.

Even as a late-blooming fan, Watkins readily admits how easy it is to find fault with hip hop, but maintains that is no excuse not to listen. As a 40-something former pastor, he acknowledges he is a bit of an outsider to hip hop, but argues that hip hop is all about being an outsider. He models well his basic premise that critics must first and foremost love the culture they critique. Instead of glossing over the misogyny, sexism and violence rampant in hip-hop music, he advises the listener to hear it in context. Hip hop is a product of a culture deeply shaped by those phenomena and won’t let us forget it. Hip hop speaks the truth of experience rather than idealism. Watkins tunes readers into the overtones of lament and prophetic utterance the church tends to turn down because the language is questionable. Though some take offense at the rapper’s bravado, bling and braggadocio, Watkins discerns the figure of the overcomer and the story of Joseph surviving and making a home in a strange land.
—Jenn Cavanaugh, freelance writer, M.A. Theology and the Arts, Seattle, Washington.

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