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LEADER 03565cam 2200457 i 4500
001
on1002823769
003
OCoLC
005
20180810031832.0
008
170914t20182018maua b 001 0 eng c
010
a| 2017038288
020
a| 9780674980846
q| (cloth)
020
a| 0674980840
q| (cloth)
035
a| (Sirsi) o1002823769
035
a| (OCoLC)1002823769
037
a| 14774875
040
a| MH/DLC
b| eng
e| rda
c| HLS
d| DLC
d| YDX
d| OCLCF
d| BDX
d| OCLCO
d| OCLCQ
d| CDC
d| TJC
d| TYC
d| GUA
d| CZA
d| ERE
d| UtOrBLW
042
a| pcc
049
a| EREM
050
0
0
a| ML3921.8.R63
b| S74 2018
082
0
0
a| 306.4/84260973
2| 23
100
1
a| Stephens, Randall J.,
d| 1973-
e| author.
=| ^A759230
245
1
4
a| The devil's music :
b| how Christians inspired, condemned, and embraced rock 'n' roll /
c| Randall J. Stephens.
264
1
a| Cambridge, Massachusetts :
b| Harvard University Press,
c| 2018.
264
4
c| ©2018
300
a| 337 pages :
b| illustrations ;
c| 24 cm
336
a| text
b| txt
2| rdacontent
337
a| unmediated
b| n
2| rdamedia
338
a| volume
b| nc
2| rdacarrier
504
a| Includes bibliographical references and index.
505
0
a| Pentecostalism and rock 'n' roll in the 1950s -- Race, religion, and rock 'n' roll -- The Beatles, Christianity, and the conservative backlash -- The advent of Jesus rock -- The fundamentalist reaction to Christian rock.
520
a| When rock and roll emerged in the 1950s, ministers denounced it from their pulpits and Sunday school teachers warned of the music's demonic origins. The big beat, said Billy Graham, was "ever working in the world for evil." Yet by the early 2000s Christian rock had become a billion-dollar industry. This book tells the story of this transformation. Rock's origins lie in part with the energetic Southern Pentecostal churches where Elvis, Little Richard, James Brown, and other pioneers of the genre worshipped as children. The author shows that the music, styles, and ideas of tongue-speaking churches powerfully influenced these early performers. As rock 'n' roll's popularity grew, white preachers tried to distance their flock from this "blasphemous jungle music," with little success. By the 1960s, Christian leaders feared the Beatles really were more popular than Jesus, as John Lennon claimed. The author argues that in the early days of rock 'n' roll, faith served as a vehicle for whites' racial fears. A decade later, evangelical Christians were at odds with the counterculture and the antiwar movement. By associating the music of blacks and hippies with godlessness, believers used their faith to justify racism and conservative politics. But in a reversal of strategy in the early 1970s, the same evangelicals embraced Christian rock as a way to express Jesus's message within their own religious community and project it into a secular world. In this compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.
650
0
a| Rock music
x| Religious aspects
x| Christianity.
=| ^A1242126
650
0
a| Rock music
x| History and criticism.
=| ^A85201
650
0
a| Rock music
z| United States
x| History and criticism.
=| ^A15200
650
0
a| Christian rock music
z| United States
x| History and criticism.
=| ^A596728
650
0
a| Fundamentalism
z| United States
x| History.
=| ^A360051
949
o| jjnb
994
a| C0
b| ERE
596
a| 3
998
a| 4854499
999
a| ML3921.8.R63 S74 2018
w| LC
c| 1
i| 30372017510725
d| 12/4/2018
e| 10/25/2018
l| MST
m| JMUSIC
n| 4
r| Y
s| Y
t| MGESBK
u| 8/10/2018
x| BOOK
z| MCIRC
o| .STAFF. jjnb; enhanced 2/11/24 -jjab