Apostles of Rock: The Splintered World of Contemporary Christian Music

308 Pages·2004·28.78 MB·English

by  Jay R. Howard

Apostles of Rock

Apostles
of Rock
The Splintered World
of Contemporary
Christian Music
jay R. Howard and
john M. Streck
THE UNIVERSI1Y PRESS OF KENTUCKY
Publication of this volume was made possible in part
by a grant from the National Endowment for the Humanities.
Copyright © 1999 by The University Press of Kentucky
Scholarly publisher for the Commonwealth,
serving Bellarmine University, Berea College, Centre
College of Kentucky, Eastern Kentucky University,
The Filson Historical Society, Georgetown College,
Kentucky Historical Society, Kentucky State University,
Morehead State University, Murray State University,
Northern Kentucky University, Transylvania University,
University of Kentucky, University of Louisville,
and Western Kentucky University.
All rights reserved.
Editorial and Sales Offices: The University Press of Kentucky
663 South Limestone Street, Lexington, Kentucky 40508–4008
http://www.kentuckypress.com
Cover illustration: Tony Palacios of Guardian, performing at the 1992 Cornerstone
Festival. Frontispiece: Wendi Kaiser of Resurrection Band, performing at the 1992
Cornerstone Festival. Photographs courtesy of Rose Capanna.
The Library of Congress has cataloged the hardcover edition as follows:
Howard, Jay. R., 1959–
Apostles of Rock : the splintered world of Contemporary Christian music /
Jay R. Howard and John M. Streck.
p. cm.
Includes bibliographic references and index.
ISBN 0-8131-2105-1 (cloth : alk. paper)
ISBN 0-8131-9086-X (paper : alk. paper)
1. Christian rock music—History and criticism. I. Streck, John M.
II. Title.
ML3187.5.H68 1999
781.66—dc21 98-44113
ISBN-13: 978-0-8131-9086-0
This book is printed on acid-free recycled paper
meeting the requirements of the American National Standard
for Permanence of Paper for Printed Library Materials.
Manufactured in the United States of America
Member of the Association of
American University Presses
Contents
List of Illustrations
VI
Acknowledgments
Vll
Prelude: Ichthus '93
Introduction: What, Pray Tell, Is Contemporary
Christian Music? 4
Interlude: Larry Norman
l. Origins and Oppositions: The Founding of CCM 24
Interlude: Rebecca St. James
2. Separational CCM: "It's a Ministry" 49
Interlude: DC Talk
3. Integrational CCM: "It's Entertainment" 75
Interlude: The 77's
4. Transformational CCM: "It's Art" Ill
Interlude: Amy Grant
5. The Materialist Critique: "It's Business" 149
Interlude: Sunday Services
Conclusion: Contemporary Christian Music and
the Contemporary Christian Life 185
Discography 221
Notes 229
Bibliography 265
Index 290
Illustrations
Wendy Kaiser of Resurrection Band frontispiece
Ichthus Music Festival 2
Altar Boys 53
Randy Stonehill 66
Sweet Comfort Band, Hearts ofF ire!, front cover 67
Dakoda Motor Co. 80
The 77's 109
Mark Heard, High Noon, front and back covers 115
Charlie Peacock 135
The Levites, Community Church of Columbus 184
Newsboys 203
Steven Curtis Chapman 215
Acknowledgments
It is perhaps only appropriate that a book drawing so heavily on Howard
Becker's concept of an art world and premised on the notion that works of
art emerge from complex social systems rather than from the efforts of
single individuals should begin with the recognition that the pages it
comprises could not have been produced without the assistance and
contributions of many, many people. The title page mentions only Jay R.
Howard and John M. Streck, but there are myriad others who must be
recognized for their assistance in our pursuit of this project.
We are indebted to the many friends, acquaintances, and strangers who
provided otherwise unobtainable source materials, information, and
perspectives on contemporary Christian music. These include Brian Blair,
Rose Capanna, Fred Clark, Rob Davis, Rodney Ho, Rick Jackson, Tudor
Lance, Larry Lein, Diana Morris, Burt Matteson, Tom Niemoeller,
Dwight Ozard, Matt Roddin (a/k/a Chris Macintosh), Bill Romanowski,
Dave Severance, Dave Stephens, John Travis, Phill Walton, John Warren,
Charles Wolff, and the innumerable contributors to the Usenet newsgroup
rec.music.christian who, through their debates and diatribes, offered
important insights into the fans' opinions ofw hat contemporary Christian
music is and ought to be. Photographer Joe Harpring's assistance in
reproducing many of the album covers included in the book is also greatly
appreciated.
We would further like to acknowledge the blessed few in the Christian
music industry who were courteous enough to return our phone calls or
respond to email. We are particularly grateful to those who, in addition, sent
us photographs and/o r gave the permission necessary under copyright law
for reproducing the images that appear in the book.
We must also acknowledge the efforts of the reviewers who provided
comments on an earlier draft of the work. IdentifYing the strengths and
Acknowledgments
Vlll
weaknesses of the submitted manuscript and offering suggestions for its
improvement, these readers undoubtedly enhanced the final work through
their critiques. The responsibility for the shortcomings that remain is, of
course, wholly our own.
Finally, on a more personal note, thanks from John go to the members
of my family for their unceasing support and encouragement; the faculty
and grad students (1992-94) of the School of Communications at the
University of Washington for helping me to transform undisciplined
thinking on Christian music into something resembling rigorous analysis;
the faculty oft he Department of Communication Studies at the University
of Iowa for looking the other way while I devoted precious time to this
manuscript when I should have been focusing on my dissertation; Elaine
Ackerman for the impromptu web searches; Greg Becker for riding along
and thinking big thoughts; and Leann Ruff, wherever she may be, who
couldn't possibly have known back in 1984 that the merciful act oflending
me a Walkman and a bag of cassettes when I was trapped on a tour bus with
my mother, sister and forty-odd middle-aged women would lead to this.
And from Jay: Acknowledgments to my wife, Brenda, and my children,
Amalia and Dylan, for their love and support; all those folks at the
Cornerstone Festival who have engaged in discussion and debate
regarding CCM around campfires, in seminar tents, and while waiting for
concerts to begin; the early 1980s Cedar Road Missionary Church Youth
Group that forced me to begin thinking critically about Christian music as
we listened to and discussed CCM in its infancy; Tony Campolo, Ron
Sider, and Don Kraybill, whose work demonstrated that one can both
think critically and Christian -ly; Terry Taylor for twenty plus years ofm usic
that appealed to a thinking person; Jo Davis at the IUPUC library, who
cheerfully sought and obtained one obscure book after another through
interlibrary loan; WHME and WFRN radio for setting me on an alternative
career path; the faculty of the sociology departments at Indiana University
South Bend and the University ofNotre Dame who helped me to acquire
and refine sociological skills; and my colleagues and students at IUPUI and
IUPUC for their support, interest, and encouragement.
Prelude:
lchthus '93
It is April in Kentucky; the air cool, the sun shining. Some fourteen
thousand teenagers (drawn largely from Methodist youth groups in the
region) have, along with their adult sponsors, packed themselves on the
rural hillside like an occupying army. At the foot of the hill stands a
covered wooden stage, currently the home of Hoi Polloi, a band that,
despite the energetic melodies and distorted guitars, has yet to attract the
attention of the crowd. There are perhaps two hundred people crowded
against the security fence in front of the stage, but beyond this crush the
audience seems unimpressed. Most are milling about visiting with friends
or standing in line at one of the many food vendors (including Subway
and Taco Bell) that surround the viewing area. Hundreds have spread out
blankets and lie about chatting amongst themselves or perusing
magazines-copies of Campus Life, Seventeen, Vogue, and Prom are seen
scattered around one group's blanket-they've brought along to help pass
the time as they wait for the bands they want to hear from to take the stage.
For most, Hoi Polloi doesn't make the cut. But, although to this point
indifferent to what the band has had to say, the crowd suddenly takes
interest when the blonde lead singer steps forward with her fashion-model
looks to assure the audience that "God is thinking about you!" A raucous
cheer erupts from the hillside as people stand and begin swaying to music
that only moments before seemed to effect little but boredom. For this
audience, however, it's not the music that matters but the message, and
Hoi Polloi's effort to connect with the audience through the vehicle of
song is no match for their singer's sloganeering. Having finally attracted
the crowd's attention, the band plays one last song before departing the
stage with an invitation for fans to join them in the press tent.
An hour or so later, The Choir takes the stage. Known for personal and
poetic lyrics set to the music of heavily processed and effects-laden
guitars, the band is a longtime critic's favorite and a pioneer of alternative
Christian rock. Critical favor and longevity, however, have yet to