By Jay R. Howard
Apostles of Rock is the 1st goal, accomplished exam of the modern Christian tune phenomenon. a few see CCM performers as ministers or musical missionaries, whereas others outline them as entertainers or artists. This renowned musical flow truly inspires quite a few responses about the courting among Christ and tradition. The ensuing tensions have splintered the style and given upward thrust to false impression, clash, and an obsessive specialize in self-examination. As Christian stars Amy furnish, Michael W. Smith, DC speak, and Sixpence None the Richer climb the mainstream charts, Jay Howard and John Streck discuss CCM as a big move and convey how this musical style pertains to a bigger pop culture. They map the area of CCM via bringing jointly the views of the folk who practice, learn, industry, and hear this track. through studying CCM lyrics, interviews, performances, sites, and chat rooms, Howard and Streck discover the non secular and aesthetic tensions in the CCM group. eventually, the clash situated round Christian track displays the fashionable spiritual community's figuring out of evangelicalism and the community's advanced courting with American pop culture.
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Extra resources for Apostles of Rock: The Splintered World of Contemporary Christian Music
Ultimately, what one faces in contemporary Christian music is a "splintered art world," with each faction organized according to a different principle of reconciliation of Christianity and culture. 80 Each of these factions attempts to define contemporary Christian music its way, dismissing all others. In some ways, then, the greatest enemy to the genre is the division between the artists themselves. Over time, many of the critiques of Christian music have been washed away by the burgeoning sales ofCCM.
These paths continue to intersect with contemporary Christian music, with innovations in rock and roll being absorbed directly into CCM and innovations in CCM altering the landscape of church music. To write the history of CCM is, at least to some extent, to write the histories of rock and roll and of church music as well. The religious roots of rock and roll are by now well documented. Ennis argues that Elvis Presley was "religiously soaked," and Curtis suggests that both his vocal style and his stage presence were modeled after the southern gospel groups that Presley heard as a young man growing up in a Pentecostal church.
At the opposite extreme lies the "Christ of culture" perspective. In this view, there is a fundamental agreement between Christ and culture. The life and teachings ofJesus are regarded as the highest human achievement, and, through Christ, the aspirations of humans are confirmed. Adopting the "Christ of culture" approach, the Christian does not seek Christian sanction for all aspects of the prevailing culture but believes the values and morals for which Christ stands to be identical to those advocated in the "best" of culture.