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Country Club Christianity: Understanding How Denominations Work

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Not every church tradition is biblical. In this piece, I break down how denominations are like country clubs — each with their own rules — but Christianity, like golf, stays the same everywhere. It’s time we stop confusing church culture with the actual gospel.

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How Lil Wayne Can Make Tha Carter VI Hit Like Prime Weezy (Originally Written in April 2025 + Updated Post Release Commentary Now)

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Lil Wayne had a chance to remind the world why he's the GOAT with Tha Carter VI. Instead, he ignored every move that could’ve made this a classic. Here’s the full blueprint I laid out before the drop—and how the album missed every step. This ain’t hate. This is truth.

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Team Ball is Back: Why I’m Loving the Pacers (and OKC) Finals Run

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QUAVIOUS AND DANIEL: WHAT THE HELLY?

In the world of art and hip-hop, collaborations and unexpected cultural crossovers are what make the landscape exciting. But when ego, legality, and a bit of high-horse energy get involved, we sometimes miss the bigger picture. That brings us to what I like to call: Quavious and Daniel — What the Helly?

Quavo, in front of Daniel’s work. Daniel don’t get mad because I posted this man lmao.

image via the fashion law

Let’s break it down. On March 31, Daniel Arsham — world-renowned artist known for eroded sculptures of classic cars, Pokémon busts, and architecture-inspired pieces — filed a copyright infringement suit against Quavo. The Migos member allegedly used Arsham’s 1961 Ferrari GT sculpture in a teaser video for his song "Trappa Rappa" without permission. The artist claims the sculpture was used without license or compensation, and while the video was eventually removed from some platforms, it remains active on others.

Now here's where it gets confusing — Arsham isn’t new to hip-hop. In fact, he’s embraced the culture many times. He sculpted Jay-Z's hands throwing up the Roc symbol for the Book of Hov exhibit, created a bust of Gunna for the DS4EVER album, and collaborated with Pharrell and Nas. This ain’t his first dance with the rap world. So the question becomes: why did this particular use by Quavo feel like such a violation to him?

Let’s keep it real: Quavo didn’t claim the sculpture was his. He wasn’t reselling it or repurposing it as merch. He stood in front of it. Rapped near it. Tagged the man. So what are we really mad at here? The fact that Quavo didn’t get a written license? Sure — that’s the technical foul. But the spirit of the interaction felt more like a tribute than theft.

As an artist and lawyer myself, let me tell you how I would've handled it. Quavo tags me? Uses my piece in a video? Boom — I reach out. I ask for credit in the video description, a profile link on socials, maybe even a short caption shoutout. I’d use the moment to drive traffic to my page. Then, I’d pitch a limited collaboration — imagine a Quavo bust in my sculpture style, followed by merch off the bust? That’s culture. That’s how you flip a moment into legacy.

Instead, we get legal filings, court headlines, and division. I know Daniel’s team would argue this is about protecting intellectual property — and legally, they’re within their rights. But this isn’t about legality alone. It’s about energy. It’s about how we treat each other in a creative ecosystem that already struggles with ego, access, and opportunity.

Daniel Arsham’s work, while masterful, also borrows. He’s flipped iconic visuals from pop culture with eroded textures — from Pokémon to vintage cars — and yes, I assume those were all licensed. But it still means he understands inspiration and reinterpretation. So why not extend that grace when someone else does it?

Quavo didn’t try to sell the sculpture. He didn’t repackage it. He rapped beside it. And if anything, it brought more eyeballs to Arsham’s world. We can debate copyright law all day, but what I care about is the spirit of the interaction. And this lawsuit? It feels like a missed opportunity.

What this moment needs is more brotherhood between artists of different mediums. Hip-hop and fine art don’t need to operate in separate universes. They should collide. They should overlap. They should build bridges, not court cases.

I say this not to tear anyone down, but to spark thought. I still support Daniel Arsham as an artist. His work is innovative and globally recognized. But I also support artists like Quavo who are continuously pushing visuals and sound into new territories. Let’s be more collaborative. Let’s be more generous. Let’s build.

This article is not legal advice. It is not an attack on Daniel Arsham. It’s just one artist’s opinion, reflecting on how this situation could’ve gone another, better way.

Let’s do better.

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Follow me on twitter.com/onlyonejaevonn and visit gettothecorner.com for more thoughts, art, and culture.

Legal Disclaimer: This article is not legal advice. It is a personal commentary and is not intended to defame or harm the reputation of Daniel Arsham or any parties involved. All individuals mentioned should be supported in their creative endeavors.