Earlier this month Aubrey “Drake” Graham revealed that the knotting of his purse strings to his heartstrings are all a part of “God’s Plan,” the title of his latest music video.
The billboard hit features him giving out the video’s $999,631.90 production budget to the people of Miami. Gifts ranged from surprise shopping sprees to impromptu educational grants to unexpected spa treatments. The emotional reception shown in the video matched the public’s initial positive reactions.
Monica Miller, of Lehigh University and member of Culture on the Edge, recently delivered the inaugural Day Lecture in Tuscaloosa, AL. Merinda Simmons, also of the Edge and a professor at the University of Alabama, sat down and talked with Monica, about her work and the field of the study of religion.
If you are waiting for Jesus’s second coming, today is the day, in the sonic form of Yeezus – Kanye West’s 6th solo album that has everyone talking, criticizing, buzzing, praising, and worshipping. Like the figure Jesus – and many scholars, I might add – Kanye is a master rhetorician (so don’t worry about his lyrics becoming flesh). He takes words, and twists and bends them into pliable strategies that more often than not work well for his market. He commands power and authority – not by virtue of what he claims, confesses, and professes – but rather, by using the pre-packaged power and authority that society has granted to particular words (and ideas) – like slave and god. Social theorist Bruce Lincoln reminds us that things such as authority are not entities unto themselves. Rather, they are effects that have to be authorized in particular ways across time and space. So what’s all the hype about? Continue reading “God of the New Slaves”
Check out an online interview posted at New Books in Religion with Culture on the Edge’s Monica Miller, about her recent book, Religion and Hip Hop (Routledge, 2012). “She does not perform a theological or religious analysis of music or lyrics as a search for meaning but rather examines the material productions of Hip Hop culture and the manufactured zones of significance within various discourses.”