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"Rock music Religious aspects."
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U2 and the religious impulse : take me higher
U2 and the Religious Impulse examines indications in U2's music and performances that the band work at conscious and subconscious levels as artists who focus on matters of the spirit, religious traditions, and a life guided by both belief and doubt. U2 is known for a career of stirring songs, landmark performances and for its interest in connecting with fans to reach a higher power to accomplish greater purposes. Its success as a rock band is unparalleled in the history of rock 'n' roll's greatest acts. In addition to all the thrills one would expect from entertainers at this level, U2 surprises many listeners who examine its lyrics and concert themes by having a depth of interest in matters of human existence more typically found in literature, philosophy and theology. The multi-disciplinary perspectives presented here account for the durability of U2's art and offer informed explanations as to why many fans of popular music who seek a connection with a higher power find U2 to be a kindred spirit. This study will be of interest to scholars and students of religious studies and musicology, interested in religion and popular music, as well as religion and popular culture more broadly.
Book
God Only Knows
The Beach Boys are one of rock's most enduring and enigmatic groups, and while the band has been the subject of numerous biographies and other in-depth studies, there has been no focused evaluation of the religious and spiritual themes in their work. Spiritual and theological themes are present in much of their work, and when this realization is coupled with Brian Wilson's mission \"to spread the gospel of love through records,\" and his sense of music as spiritual--of thinking \"pop music is going to be spiritual... that's the direction I want to go\"--this is a striking way to explore the band's music. In God Only Knows, the contributors attempt to come to grips with just a small amount of this band's massive output--by circling around its theological virtues. Each section of the book is a loose investigation of the guiding topics of faith, hope, and love. Each essay is a free exploration of theological and spiritual themes from the contributor's own perspectives.
eBook
Mystic Chords
Rock N roll and archetypal symbolism? Citing baby-boomer favorites including Bob Dylan, Bob Marley, the Beatles and other Rock greats, the author shows that they have drawn on the same primal source from which mythology, dreams, and poetic insight arise.
eBook
Slam Dancing for Allah
\"Punk has always been home to the marginalized and angry, led by the Sex Pistols and the Clash in Britain and the Ramones across the pond. But Muslim punk rockers are fighting a two-sided establishment: one side West, the other Middle East. To them, the war on terror is unequivocally a war on Islam, but they're equally infuriated by Islamic fundamentalists and the bloodshed they foment against Westerners as well as other Muslims.\" (Newsweek) The U.S.'s small but flourishing Muslim punk rock scene is briefly explored.
Magazine Article
Jesus climbs the charts
The two biggest rock bands in America right now are groups fronted by Christians who have nothing to do with the Christian music industry. Creed and U2 regularly pack stadiums, win Grammy Awards and fill the airwaves with spiritual songs. Scott Stapp of Creed and Bono of U2 view themselves simply as artists and entertainers. When their art reflects their faith, it does so naturally, in an honest, uncontrived and vulnerable way.
Magazine Article
WHY Pat Boone WENT \BAD\.(Pat Boone's carefully calculated bizarre appearance at the American Music Awards earned him the desired publicity to promote his new album, but it also offended many conservative Christians who considered him a spokesman for their cause)
When Pat Boone appeared at a nationally televised music awards show wearing a leather vest, earrings and tattoos, he was just poking fun at his squeaky-clean image and creating some buzz for his new album. Gilbreath examines the controversy Boone caused and how he has responded to it.
Magazine Article
No Sympathy for the Devil
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.
eBook
Apopcalypse: The Popularity of Heavy Metal as Heir to Apocalyptic Artifacts
This paper examines the heavy metal genre as a popular form of apocalypticism, i.e., as a warning reminder or “premediation” of potentially (large-scale) lethal crises. By confronting the audience with disturbing, seemingly exaggerated scenarios of disease, chaos, war, and horror, heavy metal builds barriers in popular culture against what philosopher Günther Anders has called “apocalyptic blindness.” The genre, then, offers a kind of “aesthetic resilience training” particularly in relatively stable and peaceful times, when large-scale crises seem unlikely or, in the case of global nuclear war, exceed in their sheer dimension the human imagination. What connects traditional religious apocalyptic artifacts such as the Book of Revelation with heavy metal is a specific appeal to the popular. Apocalyptic artifacts and their contemporary secular heirs lend themselves well to popularization because of their strong affective and aesthetic sides, as the Revelation and its many ramifications in popular culture, not least in heavy metal, demonstrate.
Journal Article
Satan, Subliminals, and Suicide: The Formation and Development of an Antirock Discourse in the United States during the 1980s
After briefly outlining some of the religious, political, and sociocultural conditions that helped the antirock movement flourish in the 1980s, Brackett discusses the background and content of one of the earliest reports linking popular music with Satanism: Assembly Bill 3741, a bill proposed before the California legislature in 1982. AB 3741 sought for the inclusion of warning labels on commercial recordings that purportedly contained backward messages that glorified Satanism and the occult. Drawing upon documents and testimony related to AB 3741, he describes how supporters of the bill exploited contemporary fears regarding Satanism and behavioral modification by characterizing backward (or \"backmasked\") messages as a form of subliminal stimulation. Supporters of the bill argued that backward messages qua subliminal messages could be deciphered by the subconscious mind and, through repeated exposure, had the ability to modify the behavior and beliefs of unsuspecting listeners.
Journal Article
\How Newness Enters the World\: Cultural Creolization in Swedish-American Hymnals Published at Augustana College, 1901–1925
\"Creole cultures-like creole languages-are intrinsically of mixed origin, the confluence of two or more widely separated historical currents, in what is basically a center/periphery relationship,\" says Hannerz. [...]he broadens the context from specific developments in colonial history to a generalized process whereby any subordinate, or peripheral, culture creates hybrid forms that modify its dominant, or central, cultural norms and thereby \"put things together in new ways.\" [...]I believe it wouldn't be going too far to say the immigrants already had a mixed, or partly creolized, musical heritage when they arrived in America. Svenska Psalm-Boken af àr 1819, Förenad med Koral-bok och Svenska Messan med Körer for Sopran-, Alt-, Tenor- och Basröste, ed. Since the Swedish word \"psalmer\" is used for hymns as well as the psalms of David, I follow Swedish-American usage when referring to the 1819 psalmbook, or hymnal, and use the terms \"psalm\" and \"hymn\" interchangeably when referring to Lutheran chorales and the older Swedish hymnody. 34. First Lutheran Church-Love Grows Here.
Journal Article