000			03494cam a2200409Ii 4500
001			on1030304210
003			OCoLC
005			20240726105058.0
008			180403s2018 mau ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dNT _dYDX _dEBLCP _dJSTOR
020			_a9780674919747 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aML3921 _b.D485 2018
049			_aMAIN
100	1		_aStephens, Randall J., _d1973- _e1
245	1	0	_aThe devil's music : _bhow Christians inspired, condemned, and embraced rock 'n' roll / _cRandall J. Stephens.
260			_aCambridge, Massachusetts : _bHarvard University Press, _c(c)2018.
300			_a1 online resource (337 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aPentecostalism and rock 'n' roll in the 1950s -- _tRace, religion, and rock 'n' roll -- _tThe Beatles, Christianity, and the conservative backlash -- _tThe advent of Jesus rock -- _tThe fundamentalist reaction to Christian rock.
520	0		_aWhen 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. The Devil's Music 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. Randall J. Stephens 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. Stephens 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 Stephens's compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.-- _cProvided by publisher.
530			_a2 _ub
650		0	_aRock music _xReligious aspects _xChristianity.
650		0	_aRock music _xHistory and criticism.
650		0	_aRock music _zUnited States _xHistory and criticism.
650		0	_aChristian rock music _zUnited States _xHistory and criticism.
650		0	_aFundamentalism _zUnited States _xHistory.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1743732&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hML.. _m2018 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c88270 _d88270
902			_a1 _bCynthia Snell _c1 _dCynthia Snell