Nicki Minaj is a well-known female rapper that is taking the world by storm. She is featured on many popular songs with big name hip hop artists such as Eminem, Rick Ross, Trey Songz, Drake, and Lil Wayne just to name a few. Nicki openly talks about her alter egos which can be heard rapping on different tracks; and has even referred to them as actual demons that have been summoned into her. In one interview she talks about “Roman Zolanski” who was “born out of rage” and “bashes everyone and threatens to beat everyone; he is violent”. She says “I asked him to leave, but he can’t. He’s here for a reason. People that brought him out; people conjured him up now he won’t leave”. In many of her videos, her different “alter egos” or from her own words “demons” are actually seen manifested. In one video, “Moment 4 Life” featuring Drake, we see Minaj asking a different alter, Martha Zolanski (Roman’s mother who has a British accent), where Roman is. On her debut album, “Pink Friday”, multiple alter egos/demons make their appearance, and when listened to closely a different voice can actually be heard.

Although she sometimes talks about God in her songs, the rest of her lyrics, lifestyle, and confessions, indicate she holds to a more postmodern worldview. With this knowledge in mind, it is interesting to read the lyrics to one of her songs “Fly” featuring Rihanna. Minaj who in her own words claims she has demons that are either influencing or possessing her opens the song with these words: “I came to win, to fight, to conquer, to thrive.

I came to win, to survive, to prosper, to rise, to fly, to fly

In the second verse, which reveals a little bit more what her worldview is, she says:

Everybody want to box me in, suffocating every time it locks me in, paint they own pictures than they crop me in, but I will remain where the top begins. Cause I am not a word, I am not a line, I am not a girl that can ever be defined. I am not fly, I am levitation; I represent an entire generation.

The words that she uses show that she falls more into the position of not wanting to conform and being outside of what might be deemed “normal”. When looking at her eccentric clothing she often wears, it is similar to Lady Gaga where it seems she is crying out for attention and for someone to notice her.

—Jeremiah

Aaron Lewis is an American musician commonly known to many as the front man and founder of the band known for their dark and often depressing music, Staind. He is a talented guitarist, songwriter, and a singer with a distinct and recognizable voice that recently released a solo album in 2011 titled Town Line. Due to the popularity of the band Staind, when Lewis ventured out across the country doing solo tours, he already had a following waiting to see him in one of his acoustic unplugged shows (myself included). On this solo album, in which Lewis is the primary musician and songwriter, he has a track titled “Vicious Circles” which at first listen might lead one to believe that he may be a theist of some sort. However, when listening to the song repeatedly, and reading the lyrics carefully, as well comparing this to other songs that he composed, I am led to believe that he leans towards a postmodern worldview. The opening verse of the song is:

If I could walk on water Like Jesus did before

If I knew all the answers To keep you coming back for more

If I could paint a picture and then cut off my own ear

If I chose all the right colors Would this just disappear?

At this point it is a little difficult to figure out what worldview best describes Lewis, however, after listening to another track on Town Line, titled “Tangled Up In You,” which was previously recorded on another album with his band, Staind, a particular verse helps sheds light on what his worldview might be. The phrase “In this world, where nothing else is “true”, I believe speaks volumes and gives insight into how Lewis views the world. Interestingly, the song “Vicious Circles,” is structured in the following format: verse, chorus, verse, chorus, verse, chorus, and repeating the chorus again with two repeated phrases. The chorus is:

Because we run in vicious circles, Until we’re dizzy with this game

And there’s miles and miles between us Yet we still remain, Yet we still remain

I think it is a little ironic that the song’s structure actually mirrors the title and theme, “Vicious Circles,” by repeating itself. From my understanding of the chorus, I get a sense of hopelessness, and no true meaning in life let alone whatever Lewis is trying to convey in this song. When I factor in the history of the songs that Staind is famous for, as well as other tracks on his solo album, I am persuaded in believing that Lewis holds to a postmodern perspective. Although the fact that he does know at least a few accounts of Jesus’ life, I would not completely rule out any hope that he may sway towards Christian theism in the future. One could only hope.

—Jeremiah

While one website described Lady Gaga’s new song as being filled with spiritual symbolism, this opinion requires close scrutiny. Though “Born this Way” contains many references to God, it in no way promotes the traditional theistic worldview, but in fact shows a rather self-absorbed, postmodern theist who reasons that belief in God excuses us from any responsibility.

It is evident that Lady Gaga is fine with mixing worldview elements. Despite apparent belief in God’s existence, it does not matter if you love him (“capital H-I-M”). For her, God functions as merely a trump card allowing her to belief and behave however she wishes.

“A different lover is not a sin, believe capital H-I-M (Hey hey hey)

I love my life I love this record”

The love of God and other things are on the same plane. There is acknowledgement of God in the song. Phrases such as her mother telling her “he made you perfect” and “‘Cause God makes no mistakes” show her belief in God’s existence.

On the other hand, there is no hint that she either desires a relationship with God or even acceptance of responsibility for right living. Throughout the song, the theme “I was born this way” is repeated and emphasized “I was born to survive,” “I was born to be brave.” This is a naturalist perspective that humans were born to survive—a familiar premise of evolution. She promotes the autonomy of self (i.e. humanistic thought), where she insists she can choose whatever lifestyle she wants:

“Left you outcast, bullied, or teased Rejoice and love yourself today

'cause baby you were born this way (emphasis added)

No matter gay, straight, or bi, lesbian, transgendered life,

I’m on the right track baby, I was born to survive.”

Postmodern naturalism surfaces as she declares any gender to be acceptable, and appears to side with nature in the nature verses nurture debate by saying people were born with a certain gender. Postmodernism is further evident not only by the acceptance of mixing worldviews but also promoting the legitimacy of any belief as long as it is your own: “rejoice your truth.” “I'm beautiful in my way ‘cause God makes no mistakes I'm on the right track, baby, I was born this way.”

According to her logic, since “God makes no mistakes,” neither can humans—we’re all perfect regardless of whatever we choose to do. She has been on the right track since birth, and presumably there’s nothing that she could possibly do that would be “off-track.” A person can’t be condemned or criticized for doing whatever s/he was born to do. This song screams the typical American view of ego—I can do it all because I am amazing. “So hold your head up girl and you’ll go far.” This song betrays a worldview of convenience. God created people so that answers any question of the cause of existence and why people are the way are. But people can still believe in and do whatever they want, since “God made me this way.” After all, “we are all born superstars.” The worldview represented here is a postmodern theism of convenience: a God-authorized license to whatever I want: “I’m beautiful in my way,” “just love yourself and you’re set.”

—Jennae

In her recent hit “King of Anything” from the album Kaleidoscope Heart, Sara Bareilles shares her personal reaction to those who try to tell her what to do or who to be. Through this song, Bareilles seems to communicate her resistance to someone who tries to impose beliefs and opinions on her. She apparently believes that she is fine and does not need help in such a way: “I hate to break it to you babe, but I’m not drowning; there’s no one here to save.”

From her humble beginnings as a Catholic-raised, high school choir member and later as a participant in her college’s a capella group, Bareilles quickly gained massive fame. After releasing her debut album Careful Confessions in 2004, she watched as her smash hit single “Love Song” rose to #4 on the Billboard Hot 100. Additionally, her latest album Kaleidoscope Heart hit #1 at its release, with “King of Anything” as the first hit single from that album.

In a personal interview, Bareilles speaks about why she wrote “King of Anything.” She states that she wrote it with a defensive attitude towards her co-workers who offered their suggestions on how to change certain parts of her songs in order to improve them. However, the actual lyrics seem to communicate a different message—specifically, a typical postmodern message. As stated, she seems to be singing about her resistance to those who try to impose their beliefs and opinions on her. Whether they agree with her does not matter, because she is fine the way she is and does not need to change according to others’ opinions. She displays this attitude in the chorus:

Who cares if you disagree? You are not me Who made you king of anything?

So you dare tell me who to be? Who died and made you king of anything?

Bareilles seems unwilling to follow somebody else’s beliefs; she sings that this person expects her to simply go along with his or her personal opinions and “ride off into [his/her] delusional sunset.” As long as her beliefs and opinions work for her, she is happy and does not need to please others by changing into the person that they think she should be.

—Amy

©2009 Universal UK/Zoom

Mumford and Sons is a band created out of a mutual love of music and is based in the arenas of folk and rock. As a band, Mumford and Son's are no strangers to meshing artistic styles. Marcus Mumford, the namesake for the band is the lead singer who also plays the guitar and mandolin. His 'sons' or fellow band mates are: Country Winston who plays banjo, Ben Lovett who plays the keyboard, and Ted Dwane who plays the double bass. They all met and bonded over their mutual love of folk music. As a band they thrive on live performances, the charge from the audience giving them the drive to make music. Sigh No More is their first studio record and was first released in late 2007. On this album one of the constant themes throughout the album is the idea of religion and faith. In a February 2010 interview with the Guardian Newspaper, Marcus Mumford discusses their choice of centering their first album around religion saying that his lyrics are “a deliberately spiritual thing but deliberately not a religious thing. I think faith is something beautiful, and something real, and something universal, or it can be...We all have our separate views on religion, but I think faith is something to be celebrated. I have my own personal views, they’re still real to me, and I want to write about them.”

One song titled, "Roll Away Your Stone" explores the concept of opening yourself up to others, and to faith. The lyrics read:

Roll away your stone I will roll away mine Together we can see what we will find

Don’t leave me alone at this time For I am afraid of what I will discover inside

You told me that I wouldn’t find a home Beneath the fragile substance of my soul

And I have filled this void with things unreal And all the while my character it steals

Darkness is a harsh term don’t you think Yet it dominates the things I see

It seems that all my bridges have been burned

But you say “That’s exactly how this grace thing works”

It’s not the long walk home that will change this heart

But the welcome I receive with every start Darkness is a harsh term don't you think

And yet it dominates the things I see Darkness is a harsh term don’t you think

And yet it dominates the things I see Stars hide your fires For these here are my desires

And I won’t give them up to you this time around And so I will be found

With my stake stuck in the ground Marking the territory of this newly impassioned soul

And you, you’ve gone too far this time You have neither reason nor rhyme

With which to take this soul that is so rightfully mine

The title of the song, "Roll Away Your Stone" seems to refer to the resurrection of Christ. After Jesus had been dead three days the stone in front of his grave was rolled away, and the Messiah was raised from the dead. The song addresses a life without Christ, “For I am afraid of what I will discover inside/You told me that I wouldn’t find a home/Beneath the fragile substance of my soul/And I have filled this void with things unreal/And all the while my character it steals.” The main character of the song is afraid of what he will discover inside his soul, because he has spent so much time filling that hole with other things, other things then God. This “darkness” as it is described “steals” away his character. He is consumed with the dark that he has tried to use as a filler in his life. While this song refers to God multiple times, the main story line of the song is that he filled his soul with a person, who turned around and broke his heart. This is what he is discussing, the idea of giving some part of himself that should have been given to God. At the end of the song he decided that this person has, “neither reason nor rhyme/With which to take this soul that is so rightfully mine.” He has no intention of giving his soul to God, but instead to keep his soul to himself for his protective watch.

I would classify this song as a Postmodern view on religious theism. The main character of the song knows the idea of God, and believes that certain parts of him should belong to God. This is shown in his reference to grace and that his soul has been filled with other things. And as listeners and readers we are able to see the band’s view on religion, and that they are well aware that a person needs God. The part that makes this song and this band Pomo in general is that they never make the outright decision to choose God. It becomes a cat and mouse game: this is what I need as a broken human, but this is what I choose to do. Their views on religion and faith are not that of choosing a specific way, but knowing that there are many paths to choose from.

—Heather

© 2008 Sony Music Entertainment

In the hit song “I’m Not Jesus,” Finnish symphonic rock band Apocalyptica and Slipknot’s Corey Taylor sing unashamedly about spirituality in relation to human struggles. However, this tune doesn’t offer shelter from the storms of life. In fact, the singer proclaims that you can confess to him any sins you’ve committed against him, but “[he’s] not Jesus; [he] will not forgive.”

Begun in 1993, Apocalyptica watched its popularity shoot to international status with the release of its album Worlds Collide. This album, released in the States in 2008, features several guest artists including Corey Taylor of Slipknot and Adam Gontier of Three Days Grace. Worlds Collide peaked at number seven on Billboard’s Top Independent Albums and Top Rock Albums, and the band itself rose to number fifty-nine on the Billboard Hot 200. With such success under its belt, the band holds high hopes for its latest album 7th Symphony.

“I’m Not Jesus” opens with the singer describing an apparent Christian, who seems saintly and perfect but terribly mistreated the singer. He later states that he believed this person to be “a good man” who “talked to God,” but now sees him as hypocritical child abuser who has marred his innocence. He also tells him, “You could confess it all away, but….I’m not Jesus, I will not forgive.”

This song clearly displays symptoms of our culture’s postmodern mindset. The singer seems disillusioned with an apparently Christian man who actually turned out to be a child abuser. He tells the man, “Say your prayers and comb your hair; save your soul tonight….I’ve thought you were a good man, I’ve thought you talked to God”; however, he discovered the man’s “dirty little secrets” that stripped away the mask of innocence. The anger, distrust, and disillusionment that result from such an observation (or experience) are a few attitudes found within postmodern thinking. People do not always turn out to be who they claim or appear to be, and this causes a general distrust of other people. Furthermore, the hypocrisy displayed by the supposed Christian man, as well as by others in today’s culture, cause one to question whether absolute truth exists. A person may claim anything he wants, but if he does not live by those claims, were they actually true? Finally, the overall darkness of this song also characterizes postmodernism. The experiences that caused this singer’s dark, depressed attitudes also cause him to harden and despair. Despite such a dark theme, the song does not at all discount that God may exist. In fact, the singer seems to indicate that although he is “not Jesus” and “will not forgive,” God may actually exist; such indications offer hints of spiritualism in addition to the song’s postmodern flavor.

—Amy

Rihanna is a girl who has shot to the top of the music charts in just the last several years. No one expected that this young, twenty-year-old Barbados girl would be tied with the likes of Mariah Carey and Beyonce in the Billboard charts for most songs making it to the number one spot in this decade. In 2003, at the age of 15, Rihanna received her big break when one of her friends introduced her to record producer Evan Rogers. Rogers, along with his partner, Carl Sturken, helped Rihanna record material in the U.S. which was sent to various recording companies. One copy of Rihanna's work was sent to Jay-Z, who eventually signed her to Def Jam Recordings. This gives a brief overview of Rihanna’s climb or rather “leap” to fame. However, what is more important for our conversation is answering the questions: What is Rihanna trying to communicate? What does her songs have to say about culture today in America? More specifically, what does this song Disturbia have to say about culture? Disturbia is Rihanna latest number one best seller receiving a whopping 13.5 million and counting Youtube views. Unlike her predecessors, Carey and Beyonce, this new diva of the post-modern, abandoned youth culture has a much darker message to share.

One viewing of this music video will leave you quickly wondering what is going on in pop-culture today. The video is filled with demonic-type images and persons that are constantly “attacking” Rihanna and they seem “too close for comfort” yet Rihanna cannot get away from them. This thief in the night, disturbia, has “creeped up inside” Rihanna, and disturbia has now locked Rihanna up in chains which she cannot remove herself from (as shown in the music video). Rihanna wishes to be “released from this curse [she’s] trying to maintain” but she cannot free from the effects of disturbia in her life. Though Rihanna is fairly unclear about what disturbia actually is (not surprising among pop-artists), it seems that disturbia is some sort of controlling figure in her life, whether that be a person, spiritual forces, or some sort of depression. This figure she can’t seem to shake; this is made evident throughout her music video and song lyrics.

So what of worldview? Can a worldview be identified in this song? With most pop-art it is a little tricky to figure out what specific worldviews artists are coming from because they want to appeal to as broad of an audience as possible. However, it is very true that Rihanna is coming from a very sad, dark place that involves some sort of depression. This attraction to darkness, this loss of hope, this feeling of entrapment and abandonment are all symptoms of postmodernism. It would be safe to say that Rihanna is at least a postmodern of the youth culture. And if this “thief in the night” is a spiritual force, she is definitely involved in a darker spiritualism. However, through her lyrics it seems that the “thief” chose her, and tempted her, she did not willingly accept disturbia. In conclusion, this song, being one of the most viewed music videos, gives a dark portrayal of where culture has not only moved in the “undergrounds” of youth culture but it has become the norm of pop-culture. Songs like these continue to show some of the more disturbing affects of postmodernism.

[written by] Joe W

“I can ride my bike with no handlebars” is the recurrent line in the song “Handlebars’ by the Flobots. While seeming like such a simple message, the progression of the song reaches far beyond kid tales of riding a bike with no handlebars and heads straight for an expose of the "dark side" of knowledge, creativity, and technology.

There is a strongly egocentric perspective on all of life which pervades the song. Lines like “I can design an engine… I can keep rhythm with no metronome… I can make anyone go to prison” point to its self-orientation. Additionally we have the repeated phrase “Look at me, look at me” which recurs several times in the song as well. The autonomous self is the vantage point from which all reality is to be viewed and judged.

The song proceeds from innocent, innocuous behaviors, curious but minor feats of accomplishment: “I can show you how to scratch a record,” and, “I can tie a knot in a cherry stem.” However, the song "progresses" (irony intended) toward increasingly disturbing, threatening, and violent behavior, with ever-greater effects upon society at large. The first-person singer-egocentrist says that I can accomplish anything: I can hand out a million vaccines or let everyone die, I can guide a missile by satellite, and finally end the world in a holocaust.

Delving further into modernism, the multiple references to the science, technology, and medical fields present the listener with their potential and “accomplishments.” Yet there is an ironizing perspective toward these achievements. I have the power for either benefitting or harming others, and the choice is miine. It is this stance that moves it from the confident optimism of modernism into the jaded, cynical, postmodern framework.

The song devolves from simple pleasure and normal abilities into an passionate rant, both musically and lyrically. The opening music is very simple, a repetitive melody with equally simple accompaniment. It the gains angst-y energy which builds throughout the song to the point of worldwide apocalyptic cataclysm. It then abruptly returns at the end of the song to the simple innocence of riding a bike with no handlebars, ending where it begins. The effect is to hold up insipid modernistic confidence against the ubiquitous evils of which it is capable, well illustrating the cynical, postmodern condition. The same drives that bring us pleasures can get us all killed.

[written by] Toni / Ray