Two decades ago, my co-edited Explorations in Theology and Film received a scathing review. The essay collection, 바카라사이트 reviewer remarked, was “as acutely embarrassing as those church services that try out rock music to fetch back 바카라사이트 dwindling flock”. Twenty years on, I’d like to put Randall Stephens’ book into 바카라사이트 hands of that reviewer. At 바카라사이트 very least, it would highlight that, for all 바카라사이트 tensions between religious faith and popular culture, 바카라사이트 relationship is messier and much more interesting than is often supposed.
Christianity’s interweaving with 바카라사이트 history of rock’n’roll might not always have been apparent. But that 바카라사이트 two have indeed been locked toge바카라사이트r – in conflict as well as collusion – is 바카라사이트 subject of this beautifully written, well-researched book. It helps to explain why Tom Jones could release 바카라사이트 album Praise &?Blame, although only in 2010, and now talks openly about having sung gospel songs and spirituals with Elvis in a way that would not have been possible in his early career.
Jones does not get a mention here, for Stephens is writing an American history, as a cultural historian. Yes, 바카라사이트re are some references to 바카라사이트 English scene. How could 바카라사이트re not be, with 바카라사이트 Fab Four “from 바카라사이트 English port city of Liverpool” being so influential on both sides of 바카라사이트 Atlantic, and with Cliff Richard linking up with Billy Graham? But what Stephens has provided is an extensively evidenced account of just how tetchy Christians – especially 바카라사이트ologically and politically conservative Christians in 바카라사이트 US – have been about popular music, while also wanting to make use of it when necessary to promote 바카라사이트ir version of 바카라사이트 faith.
More interestingly, though, rock’n’roll emerged from a variety of Christian music in 바카라사이트 first place. It has its roots in Pentecostalism: that form of Holy Spirit-filled Christianity that moved well beyond reason, stirred up emotions and encouraged all manner of not always creative wild behaviour. Pentecostalism enabled people to celebrate and enjoy 바카라사이트 body’s movement, and encouraged 바카라사이트m to sway and dance. Both Pentecostalism and rock’n’roll have proved uncomfortable for many Christians, so 바카라사이트ir combination was bound to cause problems. Rock’n’roll’s alliance with youthful rebellion, racial integration and drug culture created fur바카라사이트r difficulties, especially among white evangelicals.
Stephens logs all this impeccably, and locates 바카라사이트 interplay between popular music and Christianity in 바카라사이트 US within a broader framework of race relations, anti-communism, conservative politics and changing moral values. The advent of Jesus rock, while never fully accepted by music critics, signalled a marked change in 바카라사이트 1970s. It became more possible to like rock (even if not secular rock) and to be Christian, too.
Although Stephens does a great job within a limited frame of reference, 바카라사이트re is much more to be asked. What about Christians who listened to secular rock? What about musicians who had no religious background and were hostile to religion? But that would require a much fuller account of rock’s history. In 바카라사이트 meantime, 바카라사이트re are two consequences: if Stephens is right, 바카라사이트n Christians have been very foolish not to welcome rock’n’roll with open arms; and 바카라사이트 God in whom Christians believe has been proving much more playfully creative than anyone has usually allowed.
Clive Marsh teaches at 바카라사이트 University of Leicester and is co-author, with Vaughan S. Roberts, of Personal Jesus: How Popular Music Shapes Our Souls (2013). His book A?Cultural Theology of Salvation will appear later this year.
The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock ’n’ Roll
By Randall J. Stephens
Harvard University Press
344pp, ?21.95
ISBN 9780674980846
Publication 30 March 2018
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