000			03267cam a2200433 a 4500
001			ocn668197728
003			OCoLC
005			20251028093239.0
008			100924s2011 ncua b s001 0 eng
010			_a 2010041422
035			_a(Sirsi) i9780807834589
040			_aDLC _beng _cDLC _dYDX _dBTCTA _dYDXCP _dVKC _dBWX _dIBS _dIHV _dSGB _dCDX _dUKMGB _dMIX _dLMR _dBDX _dOHRRH _dVF$
016	7		_a015776267 _2Uk
020			_a9780807834589 (cloth : alk. paper)
020			_a0807834580
035			_a(OCoLC)668197728
043			_an-us---
050	0	0	_aML 3187.5 _b.S78 2011
049			_aVF$A
100	1		_aStowe, David W. _q(David Ware)
245	1	0	_aNo sympathy for the devil : _bChristian pop music and the transformation of American evangelicalism / _cDavid W. Stowe.
260			_aChapel Hill : _bUniversity of North Carolina Press, _cc2011.
300			_a291 p. : _bill. ; _c25 cm.
504			_aIncludes bibliographical references (p. [271]-283) and index.
505	0		_aJesus on the beach -- Jesus on Broadway -- Godstock -- Soul on Christ -- Hollywood's gospel road -- Let's get married -- Shock absorbers -- Year of the evangelical -- Crises of confidence -- Last days.
520			_aIn this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity through the development of Christian pop music. For an earlier generation, the idea of combining conservative Christianity with rock--and its connotations of nonreligious, if not antireligious, attitudes--may have seemed impossible. Today, however, Christian rock and pop comprises the music of worship for millions of Christians in the United States, with recordings outselling classical, jazz, and New Age music combined. Shining a light on many of the artists and businesspeople key to the development of Christian rock, Stowe shows how evangelicals adapted rock and pop in ways that have significantly affected their religion's identity and practices. The chart-topping, spiritually inflected music created a space in popular culture for talk of Jesus, God, and Christianity, thus lessening for baby boomers and their children the stigma associated with religion while helping to fill churches and create new modes of worship. Stowe argues that, in the four decades since the Rolling Stones first unleashed their hit song "Sympathy for the Devil," the increasing acceptance of Christian pop music by evangelicals ultimately has reinforced a variety of conservative cultural, economic, theological, and political messages. - Publisher.
650		0	_aContemporary Christian music _zUnited States _xHistory and criticism.
650		0	_aChristian rock music _zUnited States _xHistory and criticism.
650		0	_aPopular music _zUnited States _xReligious aspects.
650		0	_aEvangelicalism _zUnited States.
938			_aBaker and Taylor _bBTCP _nBK0009287765
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938			_aBlackwell Book Service _bBBUS _n3559015
938			_aCoutts Information Services _bCOUT _n15542701
938			_aMidwest Library Services _bMWST _n02521332011
938			_aBrodart _bBROD _n12163554 _c$37.50
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999			_c131982 _d131982