Luxury cars, mansions, tailor-made suits…these are often the stereotypes people have of the pastors of black megachurches, defined as congregations with a weekly attendance of 2,000 or more. Reality shows like “Preachers of LA” that feature megachurch pastors such as Bishop Noel Jones, Bishop Ron Gibson, and Bishop Clarence McClendon driving luxury cars, surrounded by an entourage, and living in million dollar homes only fuel these stereotypes. The size and concentration of resources in black megachurches has made them the target of criticisms to an extent that smaller churches have not been. For example, minister and civil rights activist Al Sharpton and political scientist Fredrick Harris have criticized black megachurches for using their power to legislate morality and focusing on material prosperity rather than working to end poverty. In general, black megachurches are accused of abandoning the social justice legacy of the Black Church in favor of a theology of prosperity, which blends positive confession, scriptures, and an emphasis on economic advancement.
Black Church, Inc.: Prophets for Profit is a 2014 documentary film directed by Todd L. Williams that takes a critical look at the Black Church and how the pursuit of profit corrupts the morality of the Black Church and its ability to serve the community. The documentary begins by explaining the history of the Black Church as a central institution in the black community and what sociologist E. Franklin Frazier called a “refuge in a hostile world.” The scene cuts from images of small black churches to images of megachurches such as The Potter’s House pastored by T.D. Jakes and New Birth Missionary Baptist Church pastored by Bishop Eddie Long, who the narrator suggests are not just “holy men” but are also “business men.” The rest of the film follows this pattern, juxtaposing the role of the Black Church as an institution committed to helping “the least of these” and enacting societal change versus black megachurches as institutions committed to increasing the finances of the pastors rather than helping the community. The documentary asserts that prosperity gospel is particularly detrimental to poor black communities who give their money to megachurches with the expectation that they will achieve the same financial success as megachurch pastors. According to Black Church, Inc., black megachurches are popular because they specialize in entertaining people and, as a result, congregants are distracted from asking critical questions about church finances and social problems affecting the black community. In the end, Black Church, Inc. alleges that “black megachurches have caused the Black Church to lose its prophetic voice.”
While Black Church, Inc. provides a suitable starting point to discuss changes in the black religious landscape and the role of black churches in black communities, there are a number of weaknesses in the documentary. The primary weakness is the treatment of black megachurches and prosperity theology as interchangeable. Undoubtedly there are black megachurches whose pastors preach prosperity theology and abuse their leadership positions for financial gain. However, the entire documentary is based on generalizations that all black megachurches are prosperity churches. This mischaracterization seems to occur because a number of the most high-profile black megachurches that have television ministries are prosperity churches (e.g., Creflo Dollar’s World Changers Fellowship Churches and Eddie Long’s New Birth Missionary Baptist Church, both of which are featured prominently in the documentary). Black megachurches, just as smaller black churches, adhere to a range of theological orientations and it is imprudent to assume that all black megachurches are prosperity churches and therefore have rejected efforts to improve the black community.
Indeed, empirical research establishes that all black megachurches are not abandoning “the least of these” for the pursuit of material wealth; unfortunately, Black Church, Inc. is completely devoid of any empirical research. Contrary to presumptions made in Black Church, Inc. that all black megachurches eschew public engagement and social service provision in favor of prosperity, nationally representative research by sociologist Sandra Barnes and political scientist Tamelyn Tucker-Worgs show that black megachurches are more publicly engaged than smaller churches and all megachurches, regardless of race. In her sample of sixteen black megachurches, Sandra Barnes has found that most clergy explicitly espouse a social gospel message or it is embedded in a broader message informed by the model of Christ. These churches sponsor programs such as Community Development Corporations, voter registration drives, schools, credit unions, prisoner reentry initiatives, job training, health clinics, and neighborhood revitalization programs that aim for community empowerment. Barnes also discovered that the size of the megachurch did not necessarily determine the number and type of social programs offered, as some “smaller” megachurches sponsored more programs than considerably larger megachurches.
The secondary weakness of Black Church, Inc. is a reliance on the narrative that the Black Church has always resisted racial and economic inequality, with Black Church activism during the Civil Rights as a classic example. Yet, this is a mischaracterization of the history of the Black Church in the U.S. The Black Church does not exist in a vacuum and is shaped by the social and political context of the time. As a result, the Black Church has a complex and contradictory history that at times accommodated to the status quo, at other times challenged it, and sometimes did both simultaneously. Although it is a common narrative that the vast majority of black churches participated in the Civil Rights Movement, it was only a minority of black churches that did. Nevertheless, as shown by Aldon Morris, the work of those churches was indispensible to the organizing success of the movement. With a better understanding of this complex and contradictory history, the makers of Black Church, Inc. could have examined how the current social and political context shapes the strategies of action taken by black megachurches. Unfortunately, the makers of Black Church, Inc. took the bait of public perceptions of black megachurches and missed the opportunity to ask more nuanced and meaningful questions.
Overall, Black Church, Inc. would best serve as a documentary exploring the role of churches as tax-exempt institutions and how some pastors use their leadership roles to engage in financial mismanagement. However, the broad generalizations regarding black megachurches and prosperity theology in Black Church, Inc. only serve to further the stereotypes of black megachurches as a substitute for significant inquiry of the study of black megachurches.
Kendra Barber is a PhD candidate at the University of Maryland, College Park. She is currently completing her dissertation which examines how black megachurches in Washington, D.C. are addressing racial inequality.
Originally posted on Cyborgology
Recently I saw an episode of TLC’s “My Strange Addiction,” (lets not go into how exploitative this show is) and was first introduced to a man named Davecat. Davecat is a man with a synthetic partner, a growing trend where people marry anatomically correct, fully functional, mostly silicon, lifesize sex dolls. I call them sex dolls because they are clearly created in the image of a sexualized female ideal (i.e., small hips, large breasts, busty lips, flawless skin, long legs).
Now this is just the latest trend in a long list of what many would call “strange” new types of marriage unions. For instance, a few years back I remember a young man in Japan marrying a Nintendo DS character, and there is Zolton, the man who married a robot he built for himself, and the young man in Korea who married an anime character on a body pillow.
Synthetic partners appear to be a growing trend, or else these relationships have simply become more visible as of late. There are several companies now specializing in these types of synthetic, lifesize dolls. There is Sinthetics brand, which appears to specialize in the pornstar variety (i.e., unnatural proportions and exotic features), and there is RealDolls, made famous by the BBC Documentary “Guys and Dolls”, and the countless, extremely creepy, celebrity sex dolls you can buy at most adult stores.
Now these trends play into what some have called “robot fetishism,” or “technosexuality.” According to the Wiki, this fetish is based on a sexual attraction to humanoid robots, or to humans dressed up like robots. We can see these sorts of anthropomorphic portrayals of humanoid robots in Svedka advertisements, in several popular anime series, and in music videos.
But what does it mean when the majority of media representations of robot fetishism are from a male perspective? Are the majority of cases actually male or is this simply a case of phallogocentrism? And why are women’s bodies so often portrayed in sexualized robot form? What does this tell us about our culture, gender, and sexuality? Finally, how has human sexuality changed as a result of these sorts of technological advancements?
Although some claim that humans react to real dolls because of our instinctual desires for abnormal, idealized, “freakish” proportions, much like an Australian jewel beetles reacts sexually to beer bottles. I personally think robot fetishism may stem from a desire for control and passivity in one’s partners. Though this is clearly not the case for all individuals with synthetic partners (I am sure many people are just lonely and tired of searching for a partner), it appears to clearly be the case for men like Gordon Griggs.
But there does seem to be a preponderance of males with female synthetic partners and a minority of females with male synthetic partners (Though they do sell male Real Dolls, after all). What does this tell us about gender, power, and culture? I would argue that this overwhelming male bias stems from male privilege, or the belief that men are entitled to females as sexual partners. Tiring of rejection and refusal from human lovers, many men turn to synthetic ones.
Watching some of the interviews with RealDoll owners contained in the BBC documentary lends me to come to this conclusion. The men contained in the film, from socially-awkward loners to jilted lovers, all seemed to have psychological issues stemming from alienation and the inability to achieve societal expectations in coupling. Several of the men had girlfriends when they were younger, but had since become recluses unable to talk to women. Other men were simply controlling and abusive, and turned to synthetic partners because they “can’t say ‘no’” like living women can.
In conclusion, I find myself lamenting the liberatory possibilities of Haraway’s “Cyborg Manifesto”. Rather than seeing the coupling of human and machine as something which frees us from various forms of oppression (e.g., gender, race, age, infirmity), I see the phallogocentrism of robot fetishism in the mass media as myopic, exploitative, and reinforcing of existing gender oppressions. Namely, these trends reinforce the objectification of women, male sexual entitlement, and controlling behaviors in men.
Dave Paul Strohecker (@dpsFTW)
David Paul Strohecker is a fourth year PhD student at the University of Maryland in College Park. He studies cultural change, conflict, and social theory, with an emphasis on the role of the media, consumer behavior, and deviant subcultures.
Originally posted on Sociology in Focus
AMC’s award-winning zombie apocalypse drama The Walking Dead is currently in its third season of undead annihilation. The show’s protagonists are a motley crew of survivors, led by Sheriff Rick Grimes, who have beat the odds to stay alive in the Georgia wilderness. In this post, Ami Stearns pits the human group as communists employing classic Marxist tenets to avoid being eaten by the cold-blooded symbols of capitalism.
“Society suddenly finds itself put back into a state of momentary barbarism; it appears as if a famine, a universal war of devastation, had cut off the supply of every means of subsistence; industry and commerce seem to be destroyed…”
Karl Marx, The Communist Manifesto
The Face of Capitalism?
That sound of a twig snapping in the forest? For the small band of survivors on The Walking Dead lead by Sheriff Rick Grimes, it’s much more likely a zombie staggering along in search of a fresh human snack than it is a deer or a squirrel. Zombies, called “walkers” in this high-adrenaline drama, can only be stopped with a bullet to the head or a swift decapitation. In this world, letting down your guard or relaxing your weapon means you might be the next item on the walker’s lunch menu. With episode after episode featuring an exponentially increasing zombie population, it’s a miracle that any humans are able to survive at all. Or is it a miracle?
I’m a sociologist, so I did what sociologists do; I analyzed the zombiepocalypse sociologically.
The survival tactics of Grimes’ warm-blooded group in The Walking Dead can be viewed through the lens of Marxist theory. Without complete cooperation, shared responsibility, and equal allocation of assets, the entire fate of the human race would be doomed. The zombies embody the classic Marxist critiques of capitalism. The heartless creatures mindlessly devour resources (i.e. human brains) in the same way that capitalism pursues profit for its own sake. In case you’ve been holed up in the woods preparing for the next pandemic (hint…it’ll be zombies!), here’s a quick overview of Marx’s Communist Manifesto.
In the mid-1800s, Karl Marx wrote The Communist Manifesto within the context of the Industrial Revolution. The epic struggle of zombies versus humans in The Walking Dead can help illustrate the principles of each orientation. Capitalism, according to Marx, reached into the far corners of the globe to dominate markets, exploit workers, and destroy local culture. The zombies in The Walking Dead have completely overtaken urban Atlanta, and it’s not long before hoards of walkers begin pillaging the surrounding small towns and countryside as well. The zombies symbolize capitalism’s insatiable need to constantly expand, exploiting (or feeding on, more appropriately) people to reach its end goal, which is merely to sustain itself.
The main idea of Marx’s Communist Manifesto is the elimination of private property. Grimes and the survivalists must keep on the move to stay a step ahead of the zombies, so claiming any property as private would be futile. They inhabit campgrounds, a farmhouse, and a prison as shared, communal property, abandoning shelter and moving on when threatened.
Marx also advocates abolition of the family as another principle in The Communist Manifesto. Although a few family units are represented on the show, the members of the group care for one another communally. One character recently stated that the survivors are his family. A communist society, Marx says, will cause differences and antagonisms to diminish. We see this is true among Grimes’ community of survivors. The characters who have shown intolerance toward one another due to race or gender present a danger for the group’s safety and have been eaten by (or left to be eaten by) zombies. The desire for profit is absent among the group, as it would be absent among a communist society. Instead, survivors rely on one another to meet basic needs. Finally, not only does money never change hands, but it has become completely obsolete in this society.
The Walking Dead’s human survivors versus zombie dynamic illustrates some of the basic principles in Marx’s The Communist Manifesto. Theory can sometimes seem dry and undead, but viewing a popular show through a sociological lens can help bring theory to life.
Ami Stearns is a graduate student at the University of Oklahoma and is interested in the sociology of literature, sociological and feminist theory, female deviance, and women's reproductive rights.