Dinesh D’Souza’s Anti-Christian Worldview

Dinesh D’Souza’s Anti-Christian Worldview

THE END OF HYPOCRISY: Conservative activist Dinesh D’Souza built a career as a person of color who was willing to champion traditionally white conservative views. But a scandal lost him his job as a Christian college president. (Photo: Mark Taylor/Wikipedia)

Here is yet another example of how GOP conservatives pimp evangelical Christians.

Outspoken conservative commentator Dinesh D’Souza, who is highly sought after on the Christian speaking circuit, recently resigned from his post as president of The King’s College, a private Christian institution in Manhattan. Why? Because while delivering the keynote address on “defending the faith and applying a Christian worldview” at First Baptist North in Spartanburg, S.C., D’Souza, who is married (though allegedly separated from his spouse), was outed for sharing a hotel room with a female who is not his wife. He referred to his “traveling companion” as his fiancé.

So let’s get this straight: A Christian leader, who promotes conservative Christian values in his books and speeches, who heads a Christian college, is speaking at a Christian event on defending the faith, but is sharing his hotel room — and likely its bed — with a woman, Denise Joseph, who is not his wife.

Huh?

Christian publication World Magazine broke the story which led to D’Souza’s eventual resignation from King’s College claiming he didn’t want to be a “distraction.” Of course prior to that D’Souza ran to the conservative Fox News and passionately denied wrongdoing because he and his wife of 20 years have been separated for two. He claimed World Magazine misreported the story and even wrote that “This is pure libel.”

“I had no idea that it is considered wrong in Christian circles to be engaged prior to being divorced, even though in a state of separation and in divorce proceedings,” D’Souza wrote. “Obviously I would not have introduced Denise as my fiancé at a Christian apologetics conference if I had thought or known I was doing something wrong. But as a result of all this, and to avoid even the appearance of impropriety, Denise and I have decided to suspend our engagement.”

C’mon playa. Are all of us Christians that naïve, or just stupid? Certainly the world is not buying your pure lie.

Look, men (and women) behaving badly is not foreign to us Christians. I know it’s not foreign to me. Many of us were doing it out in the world before we came to know Jesus. Many of us have found ourselves falling into sexual sins while in the church, whether the sin be homosexuality, fornication, or adultery. In the Bible, David fell into adultery and brought Bathsheba down with him (2 Samuel 11 ). There are other examples. Sin is sin. There’s no hierarchy. We’ve ALL fallen short of God’s glory, which is why we need Jesus Christ to cover and redeem us daily. The deeper sickness is how too many so-called conservatives promote themselves as the keepers of the nation’s moral conscience, proclaiming how others must behave, yet masking their own sins. Unlike what Jesus warned us in Matthew 7, these hypocrites look pass their “beams” and point out other people’s “twigs” on their way to personal fame, fortune and political power.

But as certain Christians attach themselves to these conservative hypocrites, what does it say about OUR collective witness to the world when the truth comes to light? For example, how can we in good conscience fight against state and federal laws that would allow other taxpaying Americans their right to same-sex marriages, when we don’t honor the church’s marriage covenant? Meanwhile, we allow divorce, which is equally sinful, as if it’s no big deal.

Another big deal problem with D’Souza is that he not only pimps Christianity but also the sin of racism. D’Souza is behind 2016: Obama’s America, a scathing documentary about President Obama based on D’Souza’s best-selling book The Roots of Obama’s Rage. At $26 million so far, it’s the second-highest grossing political documentary. D’Souza is an Indian American who was born in Bombay, Maharashtra, India. Yet, he makes his fortune and fame by attacking not just a member of another minority group, but the nation’s first black president — the symbol of the dreams that helped black Americans endure the deep pain, blood, sweat and tears since the first child of African descent was born in North America in Virginia in January 1624.

Many Asian Indians began immigrating in large numbers to the United States soon after the passage of the 1946 Luce-Celler Act, which allowed 100 of them to enter per year and become naturalized citizens. Dalip Singh Saund, who would in 1957 become the first Indian American congressman as a Democrat from California, was instrumental in the act’s passage. He also supported the civil rights movement. Unlike black Americans whose ancestors were brought unwillingly crammed in hulls by the hundreds per ship as slaves whose backs would build America’s economy, many Asian Indians came by airplane on education and work visas from Canada, South African and of course India. Many of them today, in the spirit of Saund and Mahatma Gandhi, whose nonviolent leading of India’s independence from Great Britain inspired the Rev. Martin Luther King Jr., understand and appreciate the plight of being marginalized and oppressed in your own country. But then there are those like D’Souza, and governors Bobby Jindal of Louisiana, and Nikki Haley of South Carolina, who discovered they could slither along the back of the civil right movement, and move on up in the Republican “Dixicrat” Party. With their darkened skin tones, they prostitute themselves as some newer more acceptable minority that won’t rock the boat. Theirs is a new shuck and jive at the expense of blacks, whites and others who fought and died trying to equalize opportunities for all Americans.

Meanwhile, America grows more and more divided by race as recent polls show this election may be the most polarized since 1988 and that anti-black racial attitudes have increased during Obama’s presidency.

In light of this national crisis, how would our Prince of Peace, unity and justice have us defend the faith and apply a Christian worldview?

All of us, including D’Souza, ought to read Matthew 7.

Is a Black President Bad for Race Relations?

Is a Black President Bad for Race Relations?

HOW FAR WE’VE COME: President Barack Obama, Ruby Bridges, and representatives of the Norman Rockwell Museum view Rockwell’s “The Problem We All Live With,” hanging in a West Wing hallway near the Oval Office, July 15, 2011. (Official White House Photo by Pete Souza)

The past week reminded us once again (as if we needed reminding) how racialized American politics has become since Barack Obama became our first African American president four years ago.

For many, President Obama’s historic victory signaled an evident shift toward what some called a “post-racial America.” Even those who rejected such talk conceded that Obama’s election was proof that our nation has grown in a positive direction.

In July, Associated Press reporter Jesse Washington examined the effect that President Obama’s election has had on the nation. According to Washington, shortly before the 2008 election, 56 percent of Americans surveyed by the Gallup organization poll said that race relations would improve if Obama were elected. One day after his victory, 70 percent said race relations would improve and only 10 percent predicted they would get worse.

But once Obama settled into the White House, it became clear that the president’s race — instead of becoming a nonissue in a post-racial era — would become a subtext of his every move and lead many of his opponents to level racially tinged charges against him (e.g., “He was born in Africa,” “He’s a closet Muslim,” “He’s a socialist,” “He’s hates America,” “He hates white people”).

FIRST IMPRESSIONS: Barack Obama, America’s first black president, speaks near a portrait of George Washington, America’s first white president. (Pete Souza/Official White House Photo)

Just this past week alone, the president was described as “a retard” by one high-profile pundit, and accused of “shucking and jiving” by a former vice presidential candidate. Then, after respected Republican statesman Colin Powell again endorsed Obama for president, John Sununu, a surrogate for GOP nominee Mitt Romney, suggested Powell supports Obama because they share the same race. This adds juice to a Washington Post/ABC News poll released on Wednesday that found the 2012 election is turning out to be the most racially polarized presidential contest since 1988.

Now comes word today of a new Associated Press poll that finds racial attitudes have not improved during the four years of Barack Obama’s presidency. In fact, 51 percent of Americans now express explicit anti-black attitudes, compared with 48 percent in a similar 2008 survey.

This leads us to wonder how racial progress might fare under a second term for President Obama. Or, whether things would improve or get worse under a Mitt Romney presidency that, presumably, would not be as haunted by the specter of race the way that President Obama’s has.

What do you think? Has President Obama’s time in office improved or worsened race relations in America?

Deconstructing the Whiteness of Christ

Deconstructing the Whiteness of Christ

STAINED GLASS FALLACIES: Since the early 1800s, European-flavored Jesus imagery has been mass-produced in the United States. After the Civil War, the notion of a ‘white’ Jesus became widely promulgated. (Image: Thinkstock Photos)

In their groundbreaking new book The Color of Christ: The Son of God and the Saga of Race in America, historians Edward J. Blum and Paul Harvey embark on a sweeping examination of how Americans came to believe in the whiteness of Jesus. Having grown up white in Oklahoma and New Jersey respectively, Blum and Harvey say they had to “unlearn a lot of white privilege over the years.” Chief among the ideas they sought to reverse in their thinking was the assumption that God is somehow attached to whiteness and white authority.

“We decided to write about how God has been presented as white in the form of Jesus in order to expose how insidious racism has been throughout American history — that it even wraps itself in the flesh of God,” says Blum. He adds that another motivation for the book was their concern about the false concepts that children learn about faith and race before they even have the intellectual or social wherewithal to challenge them. “Children often see the ‘race’ of Jesus before they know how to say grace in his name. We wanted Americans to confront the reality that the images we have created and continue to display influence how our children come to understand God, themselves, and others.”

In the process of their research, Blum and Harvey also gained a high esteem for “the women and men who have stood against racism and have imagined Jesus and God beyond whiteness.” White privilege benefits white people, Blum says, “but it also blinds them from many beautiful and brilliant expressions of others, especially when it comes to religious life.”

Blum spoke to UrbanFaith about his book, the origins of “white Jesus,” and how confronting the philosophies behind those misleading American images of Christ can lead to a more authentic view of God and his church. 

URBAN FAITH: When we see the traditional images of Jesus as a blondish, blue-eyed European, where do those depictions stem from historically?

DISPELLING THE MYTHS: In ‘The Color of Christ,’ San Diego State University history professor Edward Blum (along with coauthor Paul Harvey) examines the ways that race and racism have shaped America’s images of Jesus. (Photo: Courtesy of Iris Salgado)

EDWARD J. BLUM: The first few centuries of Christianity had no visual imagery of Jesus. Then various icons were created and Catholic Europeans made them in abundance during the Middle Ages. Oftentimes, they were created by Europeans with a sense of what the “ideal” human would look like – and for Europeans, that was often European.

But these images were not present in British America. The first British settlers were radical iconoclasts who not only destroyed images of Jesus, but also opposed any displays of the Son of God. There were no dominant images of Jesus in the early America that became the United States.

Only after the United States became a new nation did Americans begin producing images of Jesus. He was not blue eyed at first, and his hair was brown. He was made white in this form at exactly the moment Americans were buying and selling more slaves and justifying the expropriation of Native American lands in the Southwest. In many ways, making Jesus white was an effort to sanctify these goals for land, power, and authority.

What about the first “American Jesus”? What did he look like, and when was it decided that he was white?

Jesus was first mass-produced in the United States in the early 1800s, but it was not until after the Civil War that his being white became an object of widespread discussion. When emancipation cut the legal ties between blackness and enslavement, it left open the question of how could whites claim to be superior. Moreover, as millions of immigrants from Asia and central and southern Europe flocked to the United States, questions of who was actually white began to animate the United States in a new way. In response, a group of white Americans started creating images of Jesus as blue-eyed and blonde haired. They knew he probably did not look this way but wanted him to be a WASP so that they could justify closing immigration doors, segregating and lynching African Americans, and viewing themselves as the most Christian and virtuous nation on earth.

Many say God transcends color and ethnicity, so why does it matter what color we make Jesus in religious and popular culture? 

As much as we would all like to see God or experience God beyond color and ethnicity, we grow up in and live within a society that focuses intensely on race. For instance, Barack Obama is not known as the first president from Hawaii. He’s known as the first “black president” — even though his mother was considered “white.” Everything from legal codes to children’s shows to cultural jokes are filled with notions of biological differences and presentations of them. We learn to see and experience race at extraordinarily early ages.

This is true of thinking about God as well. Most studies show that when groups of people are asked to imagine what Jesus looked like, they see a white man. Even taught that that is not the case; even shown other images; and even knowing that Jesus lived 2,000 years ago in the Middle East, most Americans still see a white Jesus when they close their eyes. We have to work through those preconceived assumptions before getting to a God that transcends color or ethnicity. Only by first acknowledging how our society has — and does — “color” God and Jesus can we then move forward to seeing beyond that.

What does the Bible tell us about Jesus’ physical appearance?

The Gospels of Matthew, Mark, Luke, and John say nothing about the race or physical appearance of Jesus. They discuss Jesus having a body; they narrate how he touched and healed bodies; they tell the story of how his body was harmed, killed, and then resurrected (with the holy holes still in his hands). But the Gospels say nothing about his hair, his eye color, or his skin tone. In Isaiah and in the book of Revelation, however, there are passages that some Christians have taken to indicate what Jesus looked like. Isaiah 52 and 53 mention how the “servant” of God will be raised and lifted up. In appearance, he will be “disfigured beyond that of any man and his form marred beyond human likeness.” This servant will have “no beauty or majesty to attract us to him, nothing in his appearance that we should desire him.” Some Christian thinkers have taken these passages to apply to Jesus and to mean that he must have been ugly for his times. Then in Revelation, the author reports seeing one “like a Son of Man” whose head and hair were “white like wool” and whose “eyes were like blazing fire.” His feet “were like bronze glowing in a furnace.” For some African Americans, this has meant that his skin and hair looked more like a black person than a white person.

Evangelical theologian Thomas C. Oden has written a series of much-discussed volumes on Christianity’s African roots. How do you respond to this new evangelical awareness of Christianity’s African connection, and what might it mean for depictions of Christ?

Separating the “Middle East” from “Africa” is a certainly a western geographical fiction that hurts our understandings of the world now and in the past. The Palestine of Christ’s age was the crossroads of the world, and northern Africa was a huge player in that political, social, and cultural exchange. It is crucial for American Christians today to recognize the African roots of the faith in order to unlearn their assumptions about Africa as a monolith, as a place that is supposedly backward or uncivilized, and as a place that fails to matter.

Even more, American Christians need to begin seeing the “body of Christ” in a new way. Rather than think about what Jesus actually looked like, they could consider that other believers are the “body of Christ” and to fail to listen to them, heed their insights, or interact with them as equals, does harm to the overall kingdom of God. Oden’s work is supremely helpful in pushing all of us in that direction.

But geography should not overwhelm faith. Native Americans have no geographical tie to the biblical age, but their insights about faith, about Jesus, and about how to live in a sin-sick world should be taken seriously as well, even though there are no Native American roots of biblical Christianity.

In the 1940s, African American psychologists Kenneth and Mamie Clark performed famous experiments using dolls to study children’s attitudes about race. When given a choice between white and black dolls, they found that African American children typically favored the white dolls. Did you find any similar phenomena happening with children and their perceptions of Jesus?

At the same moment that the Clarks were asking about dolls, sociologist E. Franklin Frazier was asking African American teenagers about God and Jesus. What he found was amazing. He found that these teenagers during the Great Depression knew that something was up about how Jesus was presented. Although most acknowledged that Jesus was somehow white, they answered with claims that “the pictures showed he was white” or that “whites would not accept him to not be white.” These African American teenagers seemed to know that Christ’s color was complicated, that the creators of the images mattered and that those who had power in society influenced what images were made. Basically, these black teenagers in the midst of the Great Depression seemed to know something that many others have been unwilling to acknowledge: our visual depictions of God and Christ are made by particular people and for particular people.

This is why even when African Americans placed white Jesus imagery in their churches, it did not necessarily mean they had some kind of group-hating pathology. It was far more complicated. Rendering Jesus as a white man who acted unlike other white men took the power off skin and placed it onto action. Moreover, it provided a rebuke of other whites — that they were not acting like Jesus by segregating African Americans. It also served as hope that perhaps one day all the various people of the world could come together as sisters, brothers, and friends, as Jesus had called his disciples at the end — his friends.

There are two artists who represent two very different ideas about what Jesus looked like. One is Warner Sallman, whose famous Jesus painting appears on your book’s cover. Who was Sallman and what was his impact on Jesus imagery?

Warner Sallman’s “Head of Christ” from the early 1940s is the most reproduced painting of Jesus in world history. The son of European immigrants, Sallman painted for a small group of evangelical Christians around Chicago. His “Head of Christ” exploded onto the national and international scene. It is a profile of Jesus with nothing in the background. He has long, wavy blonde hair and blue eyes. For many, many Christians, this became the face of Jesus. It became the model for television and movie casting, and it went everywhere.

This calming image of Jesus was important to many Americans during the turbulence of the 1940s and 1950s. World War II was horrific; atomic bombs made it possible for the world to be destroyed. The emerging Cold War was terrifying. And then many Americans worried that their children were out of control (as shown in the film Rebel Without a Cause). Many Americans placed this Jesus in their homes and in their Sunday school classrooms to provide comfort. Somehow, a white Jesus would save them from nuclear holocaust or Communist secret agents.

The second artist is Fred Carter, who isn’t mentioned in your book yet whose work may be very recognizable for many African American Christians. Could you tell us about Carter and how you appraise his significance in this universe of Jesus imagery?

Fred Carter’s art should have been discussed in The Color of Christ. Since art historian David Morgan did such a nice job analyzing Fred Carter’s works in Visual Piety, we somewhat forgot to make a point to include Carter’s pieces. By neglecting them, however, we missed the opportunity to point out some huge changes since the 1960s in African American organizational creations and growth and how Mr. Carter’s art and its popularity were built on new organizations. If we had included Mr. Carter’s work, we would have been able to show how new art worked with new publishing houses to create a new visual culture for African American churches.

JESUS IN COLOR: An example of Fred Carter’s biblical art for Urban Ministries, Inc. Carter’s work helped create a more authentic visual culture for African American churches.

In particular, Mr. Carter’s images of Jesus reveal what scholar Anthony Pinn calls a “nitty-gritty” theology. Carter’s Christ is a full person who sweats, bleeds, and pleads. His dark skin is only one part of the reality of his embodiment. Carter shows Jesus experiencing all of the pains that we do as humans. They are poignant and fascinating portrayals. [Editor’s Note: Fred Carter’s artwork is also prominently featured in the Christian education publications of UrbanFaith’s parent company, Urban Ministries, Inc.]

In your introduction, you state that, “The white Jesus promised a white past, a white present, and a future of white glory.” What do you mean by that?

Basically, as race has been made in modern America, it presents itself as omnipresent in the past, in the present, and in the future. We are taught that there have always been “white” people, “black” people, etc. But we know that different people at different times divide themselves differently. One thousand years ago, hardly anyone would call themselves “white” and the category “African American” did not exist.

So how did race make itself seem to transcend time? We think Jesus is a key to this answer. By focusing on the body of Christ and by making him white, Americans subtly mapped racial concepts onto a person who has existed before the creation of the world and will be there at its end. If Jesus was white, then he is white. And if Jesus is the alpha and the omega, then somehow his whiteness was at the beginning and will be at the end. Of course, no one (except maybe some Klansmen) would ever say this, but the lesson is one taught without words.

Toward the end of the book, you explore a bit of the Jeremiah Wright controversy that gave his famous parishioner, Barack Obama, so much grief during his 2008 presidential campaign. You note that though white America was shocked by Wright’s “God Damn America” sermon, which in passing mentioned that “Jesus was black,” Wright’s brand of liberation theology was not that unusual or unsettling for African American audiences. Could you talk about liberation theology’s role in pushing back against many of America’s popular depictions of Jesus?

Beginning actively in the late 1960s, black liberation theologians like James Cone explicitly challenged the whitening of European and American theology and Christianity. They were reacting, in part, to how white ideologies had warped American Christianity to accept segregation, economic exploitation, and violence. The liberation theologians were also reacting to black power advocates who wanted to dismiss Christianity as purely a tool of the oppressors. Cornel West, for instance, found himself at odds with Black Panthers in California — not because of their economic program, but because of their opposition to Christianity. Cone, West, and many others set out to reconcile the faith of their mothers and fathers with their political opposition to white supremacy and class disenfranchisement.

These theologians saw Jesus as “black” in an ontological sense, meaning that regardless of what Christ actually looked like, his actions, attitudes, and sense of being aligned him with the oppressed, the downtrodden, and the hurting. In America, this means he was not only affiliated with “blackness,” but was “black” this way as well.

Black liberation theologians made crucial inroads into white universities and colleges. Cone and West obtained prestigious positions at Union Theological Seminary, Princeton, and Harvard. They then mentored dozens (if not hundreds) of scholars to continue the attack upon the whitening of the gospel.

Liberation theologians also participated in new black arts movements that visualized Jesus beyond whiteness. The theological momentum was part of broader changes in African American church life and beyond. Many whites, including myself, were first directed to challenging the white Jesus through the works of writers like Cone and West.

What are the primary myths surrounding Christ that you hope to dispel with your book?

The first and most important myth we want to dispel is that people necessarily and simply make Jesus look like themselves. This myth transforms religious imagery into little more than ethnic or cultural chauvinism. This myth also ignores so many other factors, such as the ability to create images and to distribute them widely. Technology, capital, and time matter significantly in what images can be made and which images can be widely displayed.

The second myth we want to counter is that black liberation theology is somehow new (or at least was born in the 1960s). By giving liberation theology a short history, we have ignored a much longer history where many everyday people — white, black, and Native American, women and men, young and old — have participated in challenging the whiteness of Jesus and the whitening of Christianity. Moreover, the longer history shows that the efforts to find liberation through Christian faith have touched on music and art, poetry and protest movements, and all other kinds of expressions. Black liberation theology was never simply defined by or for theologians and ministers, but it was a movement of everyday people that began almost two centuries ago.

Editor’s Note: For more information, visit the official website for The Color of Christ book at www.colorofchrist.com. At the site, readers can follow along with the images, videos, and texts described in the book and check out additional interviews with scholars, artists, and everyday people about why the color of Christ matters. Visitors also can share their personal stories about encountering Jesus in various visual forms.

Puritans and Propaganda

Puritans and Propaganda

HOLY HIP-HOP CONTROVERSY: Rapper Propaganda’s blistering critique of Puritanism’s racist history has some Reformed listeners crying foul.

Rapper Propaganda created a tornado of criticism with the recent release of “Precious Puritans” on his new album Excellent (available here). In the song, Propaganda reminds his audience to increase their cultural intelligence by caring about the black experience in America and to recognize the fact that, like the Puritans, we all have blind spots and need to have our minds constantly renewed (Rom. 12:2) by God’s word. The song also challenges those who uncritically treat the Puritans as a protected class that stands outside of the Bible’s command to “test everything” (1 Thess. 5:21).

For those who may be unfamiliar, Puritanism was a Christian reform movement that arose within the Church of England in the late 16th century. The movement spilled over into New England well into the 17th century and had a significant influence on the mores of America’s founding. Theologically speaking, the Puritans were committed to the doctrines of grace that emerged from the Protestant Reformation, with their particular emphasis on the intersection of sound doctrine and personal piety. In recent years, many young white Baptists and non-denominational evangelicals have been looking for substantive, theologically driven, analytic approaches to personal piety rooted in a tradition they found lacking in their own backgrounds. Thirsting for depth and history, these “new-Calvinists,” with the help of well-known pastors like John Piper, have found spiritual enrichment by studying the Puritans.

“Precious Puritans” simply raises a caution about loving the Puritans too much because, although they had sound doctrine on issues like personal piety, that tradition was complicit in perpetrating injustice against Africans and African Americans during the slavery. The song opens with these words:

Pastor, you know it’s hard for me when you quote puritans.
Oh the precious Puritans.
Have you not noticed our facial expressions?
One of bewilderment and heartbreak.
Like, not you too pastor.
You know they were the chaplains on slave ships, right?
Would you quote Columbus to Cherokees?
Would you quote Cortez to Aztecs?
Even If they theology was good?
It just sings of your blind privilege wouldn’t you agree?
Your precious Puritans.

They looked my onyx and bronze skinned forefathers in they face,
Their polytheistic, god-hating face.
Shackled, diseased, imprisoned face.
And taught a gospel that says God had multiple images in mind when he created us in it.
Their fore-destined salvation contains a contentment in the stage for which they were given which is to be owned by your forefathers’ superior image-bearing face. Says your precious Puritans.

The song continues to highlight ways in which the black experience in the Puritan tradition is mishandled within white conservative evangelicalism. However, instead of leaving it simply at critique and dismissal, like we might find among some black liberation theologians, Propaganda ends the song by confessing that he is no less flawed than the Puritans, as his wife can attest, and offers praise to God because “God really does use crooked sticks to make straight lines.” That is, Propaganda is calling for humility in recognizing that, in the end the noetic effects of sin are present in the Puritans, in himself, and the rest of us. As such, what is to be praised is not any class of men but the providence and sovereignty of God that He fulfills his mission through messed up people. (Check out the video for “Precious Puritans” below.)

What’s been so odd to me is the tribalist attacks from those who fear that Propaganda is in some way throwing the Puritans under the bus to never be read again. A lamentable example of this is a blog post by Professor Owen Strachan, Assistant Professor of Christian Theology and Church History at Boyce College. In his post, Strachan suggests that the song might be dangerous because he wonders “if Propaganda isn’t inclining us to distrust the Puritans. He states his case against them so forcefully, and without any historical nuance, that I wonder if listeners will be inclined to dislike and even hate them.”

Is this a slippery slope? Does testing and critiquing leads to this? Did Martin Luther’s comments about Jews incline people to hate him and reject him? Or John Calvin’s execution of Michael Servetus? Or Abraham Kuyper’s racism? Or Jonathan Edwards slave owning? I could go on.

The answer, of course, is “yes” and “no.” Those who would reject the Puritans because of their white supremacy will themselves struggle to find much of anyone in Western Christianity to embrace. All have sinned and fallen short of the glory of God in some way (Rom. 3:23), including all of those we hold in high esteem. There is an obvious “no” because this is not how the Bible teaches Christians to engage in cultural and historical analysis. We are to eat the meat and spit out the bones. This includes those who are both inside and outside the tribe. There is much meat in the Puritans but there are also massive bones.

Propaganda’s point is that if white evangelicals do not talk about the bones of their heroes they run the risk of doing great harm to people of color. Many of us are beginning to wonder why white evangelicals do not seem to care much about this and seem willing to trade off “honoring” their forefathers for their own comfort over doing what is necessary to build racial solidarity. Some of my liberation theology friends, in the end, would see Strachan’s critique as a dismissal of acknowledging the importance of caring about how the Puritans are presented to African Americans and would constitute a racial microaggression or a micro-invalidation.

The largest concern is the seemingly tribal nature of many of Propaganda’s Puritan-loving critics. Could this be an example of confirmation bias? As Jonathan Haidt explains in the book The Righteous Mind, confirmation bias is “the tendency to seek out and interpret new evidence in ways that confirm what you already think” (80). In general, according to Haidt, we are good at challenging statements made by other people but when it comes to one’s own presuppositions facing opposition the tendency is to protect it and keep it. Therefore, “if thinking is confirmatory rather than explanatory … what chances is there that people will think in an open-minded, explanatory way when self-interest, social identity, and strong emotions make them want or even need to reach a preordained conclusion?” (81). In this sense, Propaganda broke a tribal code: never critique anyone within the tribe.

Strachan considers the Puritans “forefathers” and in a tribalist way, some would argue, seeks to protect their legacy. Had Propaganda dropped a track critiquing Roman Catholics, Jeremiah Wright, Rob Bell, Brian McLaren, or preachers of the prosperity gospel, he’d be called a hero. During my seminary years I was rebuked once for mentioning Martin Luther King Jr. in a sermon because of his sins. Why? Because King, like the others, are outside the tribe and are fair game to be critiqued in any form. Since they are not “one of us” there is no expectation of extending grace. Grace is reserved for those with whom we agree.

RHYTHM AND POETRY: Propaganda’s latest album, ‘Excellent.’

I experienced this tribal protectionism when I challenged Doug Wilson’s poor historiography of the antebellum South. Theologians Carl Trueman and Scott Clark experienced this recently when stating that complementarianism is not a “gospel issue.” The bottom line is that the Bible provides a model for the importance of confessing the sins of our fathers (Neh. 9:2) and testing everything (1 Thess. 5:21). Why? Because if we do not hold those in the past accountable to God’s Word we will repeat their sins. “Precious Puritans” is the iron that sharpens us. It keeps us from making the Puritans a golden calf. Racism and white supremacy is the other Reformed tradition so we need regular reminders to hold God and his Word in high esteem over the works of mere men.

After reading Strachan’s post I was left wondering if he had ever read Joseph Washington’s books on Puritans and race (Puritan Race Virtue, Vice and Values, 1620-1820: Original Calvinist True Believers’ Enduring Faith and Ethics Race Claims, Anti-Blackness in English Religion 1500-1800, and Race and Religion in Early Nineteenth Century America, 1800-1850: Constitution, Conscience, and Calvinist Compromise). In light of Washington’s research, what Propaganda did in this song is minimal. Candidly, it is difficult for me to see why Propaganda’s song stands out in light of the thousands of pages of published writings of Puritan white supremacy that seems to have had no effect on people treating them as a protected class. In the new Calvinist world, there seems to be a growing trend that you can have “hard-hitting exhortation” as long as it is directed at those who are not beloved within the new-Calvinist tribe. The best critique of Strachan’s tribalism comes from Pastor Steve McCoy, so I will not repeat his excellent points here but McCoy concludes that Strachan completely misses the point of Propaganda’s song.

Lastly, it seems that as a rapper himself, Strachan would not expect much “nuance” in a genre that normally uses hyperbole as a rhetorical device. After all, it is a rap song. Since when does anyone expect “rhythm and poetry” (a.k.a. RAP) to have nuances and qualifications? I wonder why Strachan is not treating the song according to its genre.

Strachan’s defensiveness of his forefathers, who get it right, demonstrates exactly why Propaganda needed to produce this song. In fact, perhaps we need more rhythm and poetry to help us test and confess. If artists like Propaganda are not given freedom to call us to critique our theology and culture, we cannot achieve true racial solidarity in the kingdom. Songs like “Precious Puritans” keep our eyes fixed on Jesus.

Lecrae’s Balancing Act: Religion, Race, and Holy Hip-Hop

Lecrae’s Balancing Act: Religion, Race, and Holy Hip-Hop

REFORMED MIX: Rapper Lecrae inspires both praise and debate with his blend of solid beats and Reformed theology.

With the release of his new album, Gravity, earlier this month, Lecrae is growing in popularity as a hip-hop artist among audiences Christian and non-Christian, black and white. The Associated Press, among others, praised the album, saying, “Lecrae delivers a strong piece of work. He’s not afraid to rap about his past mistakes, supplying inspirational rhymes filled with Christian values backed by well-produced secular hip-hop beats.”

Lecrae (his full name is Lecrae Moore) stands at the intersection of two contrasting cultures: the urban vibe of historically black hip-hop and the theological leanings of the historically white Reformed tradition with its roots in Calvinism.

It’s a cultural mix common in Holy Hip-Hop, says author and “hip-hop theologian” Efrem Smith. Holy Hip-Hop artists often appear in front of white evangelical audiences and receive support from white Reformed pastors like John Piper and Mark Driscoll (who have both interviewed Lecrae). But the artists themselves tend to be young black men from inner-city backgrounds who ironically struggle to find an audience among urban youth.

The reason for that, Smith argues, is because the African American church has too often rejected hip-hop culture and because urban youth sometimes dismiss Holy Hip-Hop as inferior to secular hip-hop music.

“Lecrae and Reach Records are the main reason why Holy Hip-Hop is growing in popularity in urban American and African American communities,” Smith said in an interview with UrbanFaith. “Put the Christian stuff aside for a minute; Lecrae is more gifted and talented than many artists being pushed by secular companies today.”

Lecrae’s Scripture-packed music hits a variety of urban issues, like fatherlessness, drug addiction, and violence. Lecrae himself was raised by his mother in the inner city of Houston and was involved in gang activity before his conversion at age 19. He went to a black church when he first became a Christian, but later visited a white Reformed congregation and was attracted to their take on the Bible.

But as Lecrae said in a video produced by The Gospel Coalition, “To drop Calvin’s name (in the black community) is to drop a curse word.” The Reformed tradition has historical links to racism in the U.S., going back to Calvinists who used their theology to justify slavery.

For that reason, Smith cautioned Holy Hip-Hop artists against depending solely on Reformation theology (which he wrote about in a blog post). Rather, he said, they need to draw upon other theologies that address the concerns of the oppressed, like liberation theology, reconciliation theology and missional pietism, to speak a prophetic message. Smith suggests that’s one area where Lecrae could grow musically, although he likened this constructive critique to criticizing LeBron James’s basketball skills.

“He does a great job of talking about individual sin and individual responsibility and the importance of accepting Jesus Christ as Lord and Savior and living by the Holy Spirit,” Smith told UrbanFaith. “What I’d like to see him do more is raise the systemic issues — the corporate issues of sin and injustice in our country and the world — and point to kingdom justice and mercy to deal with these corporate sins.”

For Lecrae, the Reformed tradition describes how he interprets the Bible, and his adoption of that theology is a way to bridge the racial divide.

“I don’t feel like I’m under theological imperialism or whatever,” Lecrae said in a video produced by The Gospel Coalition. “I feel like I’m in search of truth, and I’m going to get it wherever I can find it. And I feel like I am in some senses a contextual ambassador, a cultural ambassador, and I do want to bridge those gaps and tear down those walls.” Check out the video below.

What do you think of Lecrae’s music and Holy Hip-Hop?