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In 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.

Popular music in the twenty-first century is increasingly divided into niche markets. How do fans, musicians, and music industry executives define their markets' boundaries? What happens when musicians cross those boundaries? What can Christian music teach us about commercial popular music? In God Rock, Inc., Andrew Mall considers the aesthetic, commercial, ethical, and social boundaries of Christian popular music, from the late 1960s, when it emerged, through the 2010s. Drawing on ethnographic research, historical archives, interviews with music industry executives, and critical analyses of recordings, concerts, and music festival performances, Mall explores the tensions that have shaped this evolving market and frames broader questions about commerce, ethics, resistance, and crossover in music that defines itself as outside the mainstream.

Formed in 1972, Jesus People USA is an evangelical Christian community that fundamentally transformed the American Christian music industry and the practice of American evangelicalism, which continues to evolve under its influence. In this fascinating ethnographic study, Shawn David Young replays not only the growth and influence of the group over the past three decades but also the left-leaning politics it developed that continue to serve as a catalyst for change. Jesus People USA established a still-thriving Christian commune in downtown Chicago and a ground-breaking music festival that redefined the American Christian rock industry. Rather than join \"establishment\" evangelicalism and participate in what would become the megachurch movement, this community adopted a modified socialism and embraced forms of activism commonly associated with the New Left. Today the ideological tolerance of Jesus People USA aligns them closer to liberalism than to the religious right, and Young studies the embodiment of this liminality and its challenge to mainstream evangelical belief. He suggests the survival of this group is linked to a growing disenchantment with the separation of public and private, individual and community, and finds echoes of this postmodern faith deep within the evangelical subculture.