Rock gets Religion

Mark Joseph is an American multimedia producer, author, and founder/CEO of MJM Entertainment Group and Bully! Pulpit. Joseph is also an award-winning record producer who has worked with artists like Lauryn Hill, P.O.D., Switchfoot, Lifehouse, Sixpence None The Richer, Scott Stapp of Creed, MxPx, Dr. John, ZZ Top, Blink 182, Kirk Franklin, Yolanda Adams, Andrae Crouch, and others.

Joseph is the author of a trilogy of books about Christians in Rock Music beginning with The Rock & Roll Rebellion, continuing with Faith, God and Rock 'n Roll: How People of Faith Are Transforming American Popular Music and ending with Rock Gets Religion: The Battle for the Soul of the Devil's Music. Joseph says younger Christian artists are having unprecedented success as mainstream musicians. In turn, their songs are having an impact on popular culture in ways that contemporary Christian music never could.

In The Rock and Roll Rebellion, Joseph asks is there such a thing as Christian music? Fans of what is now called Contemporary Christian Music (CCM) might think so, but not Joseph. In this well-researched work, he argues that Christian music is not a separate genre, and that by creating a separate marketing category, Christian musicians removed themselves from pop culture—to their own detriment as well as the culture's. Through profiles of leading Christian musicians and producers (including Bob Dylan, Johnny Cash, Pat Boone, Run-D.M.C., and U2), Joseph explored Christianity's place in American popular music, concentrating in particular on the rise of CCM as a commercial power. For anyone interested in the tension between sacred and secular in modern American music, or for fans of popular artists who have struggled with these issues (such as Amy Grant, Sam Phillips, T-Bone Burnett, Mark Heard, and dozens of others), the book makes for fascinating reading.

In Faith, God, and Rock & Roll, Joseph profiles the surprisingly long list of bands and artists who signed with secular labels but still make music that speaks of faith in God. Among the topflight acts he writes about are Jars of Clay, Lenny Kravitz, U2, Creed, Lauryn Hill, Sixpence None the Richer, Destiny's Child, Lifehouse, and P.O.D. This book explores in detail the more sophisticated version of religion now permeates the airwaves and dance clubs through a history of the movement and interviews with some of its most prominent purveyors, from U2 to Lenny Kravitz to Coldplay. Included is information on which bands with "God on their side" have reached the Top 10, as well as photographs, and profiles of 60 artists whose work is fueled by religion or spirituality such as Bono, Donna Summer, and Bob Dylan.

In Rock Gets Religion Joseph notes that the religious and religiously influenced are now commonplace in the music scene (Kendrick Lamar, Chance the Rapper, Katy Perry, 21 Pilots). Joseph explores the tensions caused when religious youth are thrown into the world of rock 'n' roll. He weaves thoughtful commentary amidst the stories of devout and not-so-devout rockers along with a warning about the inherent dangers of sanctifying rock.

He argues that four major trends caused this phenomenon: (1) Dozens of rookie artists are bypassing the CCM scene altogether going directly to mainstream labels; (2) established Chrisitan artists are switching to mainstream recording companies; (3) Those popular artists who experience religious conversions are staying in mainstream music instead of leaving for the church circuit; and (4) the American Idol phenomenon resulted in pop stars being picked by the American people instead of music industry gatekeepers who selected the stars of yesteryear. As a result, while sales of Christian music as a genre may have been in a steady decline, the religious influence on rock has never been greater.

Rock Gets Religion lays out the case for people of faith to continue to make their music in the middle of popular culture, and updates the scene with dozens of successful (and not so successful) stories of Christians who have done just that. "Mark Joseph has been a key voice in the transformation of American popular music," says former Van Halen singer Gary Cherone. "In this book, his final in a three-part series, he shows us how the transformation happened and outlines a vision for the future of the unlikely alliance of rock music and serious faith."

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Switchfoot - Live It Well.

David Ritz: Divided Souls and Messengers

I've just finished Sinner's Creed, the excellent collaborative biography of Scott Stapp written by David Ritz. In 1986 I reviewed Ritz's biography of Marvin Gaye, Divided Soul, for Strait, the Greenbelt newspaper, noting that 'While Ritz sticks with his original premise or image the sheer volume of contrasts which he draws out of Gaye's personality reveal someone rather more complex than a simple black/white division of personality would suggest.' Something similar could be said of Sinner's Creed which also revolves around the conceit of a divided soul.

Interestingly, between the writing of the two books Ritz himself became a Christian:

'David Ritz recently embraced Christianity, and Messengers is a tribute to the people who awakened his personal faith and to others, both famous and unknown, whose words—sometimes set to music—have inspired millions of believers. The gifted photographer Nicola Goode contributes glowing portraits of each of them.

There are stories and reflections from Bishop Noel Jones (brother of Grace); Harlem’s own Rev. Dr. Calvin Butts; Rev. Peter J. Gomes of Harvard; gospel mega-stars Donnie McClurkin, Kirk Franklin, Marvin Winans, Smokey Norful, and Candi Staton; Christian life coach Dr. Arlene Churn; Dr. Mable John, a Los Angeles evangelist and former backup vocalist for Ray Charles; Chris Burge, a former Wall Street executive salesman who is saving souls in New York City and is also now a well known author; and a Washington, D.C., pastor who also runs a window-washing business. In voices joyful, clear, and strong, these mighty men and women of God convey messages of faith, love, and hope addressed directly to the heart.'

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Candi Staton - His Hands.

The wonder in a child's eyes

I recently published a post on Ed Kowalczyk and Scott Stapp. Having listened to more of their music since that point, I've been impressed with the extent to which their songs celebrate parenthood in a genre not known for that particular focus. Creed's 'With Arms Wide Open' is a reflection on the imminent prospect of parenthood. On Live's 'Heaven,' Kowalczyk sings 'I don't need no one to tell me about heaven / I look at my daughter and I believe,' while in 'In Your Light' he reflects that he can't dream of being good enough to deserve even half of the gifts some magnificent power gave him in the form of his two kids. Finally, Scott Stapp, in 'Dying To Live' from the wonderful Proof of Life, lists the wonder in his child's eyes as one of the songs the world forever sings which are the things always right in front of us.

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Scott Stapp - Dying To Live.

Ed Kowalczyk and Scott Stapp: Angels on a razor

'Along with Bush, Live was among the earliest adopters of post-Nirvana “bubblegrunge,” which infiltrated rock radio in the mid-’90s and paved the way for the eventual dominance of Creed and Nickelback.' (Grantland)

'Together for more than 15 years, Live's quest for faith and truth is fascinating. Though lead singer and lyricist Ed Kowalczyk apparently grew up in a Christian home, he came to resent the religion in the years leading to the formation of Live. With the band's 1991 debut Mental Jewelry, based on the writings of Indian philosopher Jiddu Krishnamurti, Kowalczyk – who had apparently embraced Eastern religion – blasted Christianity in the song, "Operation Spirit (The Tyranny of Tradition)."

Rejecting Christianity would not prove permanent, however. The band's 1994 breakthrough sophomore effort, Throwing Copper, marked a seemingly reluctant return to Christian imagery, though offering a few mixed messages in the process–the cover art is an indictment of Christians too pious to show love and compassion. Not until Live's fourth album, 1999's The Distance to Here, was there a seemingly dramatic turnaround in Kowalczyk's beliefs. "Where Fishes Go" is a solid illustration of evangelism, "Run to the Water" a powerful testament of grace and renewal, and "Dance with You" is virtually a prayer of thanks and surrender. Such themes continued to a lesser extent into Live's fifth effort, 2001's V, with such faith–based songs as "Hero of Love" and "Call Me a Fool."' (Christianity Today)

'Kowalczyk's first solo album, Alive, ... is as equally dramatic and anthemic as Live but with more of an intimate singer-songwriter feel to it ...

perhaps the biggest change is with the singer's Christian faith coming to the fore. There are songs like Soul Whispers, with the line "My stained-glass heart lay shattered on the floor of the church"; first single Grace is about repentance and moving on ("every saint used to be a sinner ..."); and for Kowalczyk, a song like Rome is not only his tribute to the city's beauty but a homecoming of sorts.

"I have ventured back into the Christian faith of my youth, and I was brought up in a Roman Catholic Christian background, so going to the Vatican and St Peters, the depth of that heritage was really in a way coming home for me because I grew up with it in a such a strong way. It's a very full circle spiritual moment, and very powerful."' (The New Zealand Herald)

'There are many factors contributing to the uplifting feel of “The Flood and the Mercy,” the second solo effort from ex-Live frontman Ed Kowalczyk.


There’s the gently jangling production of Jamie Candiloro; the singer’s spiritual lyrics, rooted in his Christian faith and a synthesis of other beliefs; and the appearance of vocalist Rachael Yamagata and R.E.M. guitarist Peter Buck on three tracks: “Supernatural Fire,” “All That I Wanted” and “Holy Water Tears.”
But there are bigger, albeit unseen, influences at work here, says Kowalczyk, 42 — his three daughters and baby Paul, born in August.

“With every kid, there has just been a deepening of my humanity, because there’s no more of a feet-on-the-ground moment than having a child,”

Fatherhood has forever changed him as a writer. “There’s the beauty of it, the extraordinary depth of it, and all the challenges of it,” he says. “The fact that you’re taking care of these vulnerable creatures, these new people, is amazing. And when I listen to the music, particularly in my solo career, I can feel that change.”' (SF Examiner)

Scott Stapp, lead singer of Creed, has been on a similar journey. Mark Joseph writes that:

'In Sinner's Creed, Stapp's finally comes clean, offering explanations for his zig-zaggy behavior, revealing himself to be the type of follower whom the good Lord might have had in mind when he remarked of the prostitute who washed his feet with her tears that she loved Him much because she'd been forgiven much.
Even for people like me who call Scott a friend, the book is full of surprises and stunners. Who knew that the lead singer of one of the biggest-selling rock bands in the world grew up listening to Take 6 because his Dad wouldn't allow for non-black forms of Christian rock? Or that as a young boy he was taken to a Benny Hinn crusade whereupon the faith healer prophecied that Stapp's voice would be heard by millions and then lightly touched his head, causing him to fall backwards, slain in the spirit. Or that his stepfather was a twisted fundamentalist who once humiliated Stapp by pulling down his pants and spanking him in front of his siblings and on another occasion spanked his own wife in front of her children.

Stapp's book is brutally honest and pulls no punches. He's no Bono, but he may just be the Johnny Cash of our era, a restless soul who loves both God and rock and roll, but battles his demons in a manner that brings to mind Al Green's admonition to his girl "Belle:" "It's you that I want but it's Him that I need."

And just like Johnny, Stapp has his June, a marketing executive named Jaclyn, a devout Christian woman who has worked hard to keep her husband on the straight and narrow. Stapp recounts their chance meeting with obvious joy, but readily admits that even with her at his side, the road hasn't been easy, and has included a few run-ins with the law.

Sinner's Creed is about many things: the excesses of fundamentalism and the victims that are sometime left in its wake, the nature of sin, the ups and downs of a rock and roll lifestyle and the value of faith in God to keep a person in the spotlight grounded in reality. But at its core it's about one man coming to terms with the incongruity of the vocation he's chosen and the faith he refuses to give up.'

'Scott Stapp’s Proof of Life is a poignant snapshot of the artist, showcasing his journey over the past several years. It doesn’t shy away from encountering the dark places that he’s wandered into, acknowledging those missteps nor does it neglect highlighting the faith-filled elements that have helped to draw the artist back into the light. Proof of Life is an insightful and honest record, capturing Stapp at his best lyrically and musically, proving to be a great listen.' (soul-audio)

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Ed Kowalczyk - Angels On A Razor.

Of beauty or affirmation

Sam Norton recently posted on the subject of beauty and his post got me thinking about the extent to which beauty can be identified or defined. The proverb, 'Beauty is in the eye of the beholder' suggests that beauty is entirely subjective. Clearly collective ideas of beauty can be formed, yet these can also be iniquitous, as with ’size zero’ in the fashion industry and the way in which that perception of beauty pressurises people into anorexia and bulimia.

One of the fascinating things about contemporary art is the way in which it often finds beauty in the throw-away, the ready-made, the hidden or disregarded e.g. Martin Creed’s Work No. 88 - a crumpled ball of paper. In a culture of detritus, American Beauty screenwriter Alan Ball uncovers heartbreaking beauty in garbage with a scene in which a crummy old plastic bag floats in the wind above a dirty sidewalk.

My friend, Alan Stewart, in his ‘Icons or Eyesores’ presentation on spirituality in contemporary art shows people a photo of a sepia-tinged crucifix. Most people quite like it until they are told that it is ‘Piss Christ’ by Andres Serrano and that the crucifix is submerged in the artist’s urine. Serrano has said that the image is about the commercialisation of religious iconography (a critique of Christian kitsch!) but Alan sees it as a depiction of the incarnation, with God coming into the detritus and waste of human life, and that, it seems to me, is profoundly beautiful.

The incarnation is particularly relevant to this debate because, while in no sense a conventionally beautiful act (see Philippians 2. 6-8), it is the ultimate affirmative act based on the understanding that nothing is lost and everything can be redeemed. For this reason, I think that affirmation is a more helpful concept to us than beauty as, rather than separating out the beautiful from the ugly as in conceptions of beauty, affirmation seeks to see the image of God in all things.

This is the approach of Charles Williams who, in The Descent of the Dove, writes this:

"... the Incarnation ... produces a phrase which is the very maxim of the Affirmative Way: "Not by conversion of the Godhead into flesh but by taking of the manhood into God." And not only of the particular religious Way, but of all progress of all affirmations: it is the actual manhood which is to be carried on, and not the height which is to be brought down. All images are, in their degree to be carried on; mind is never to put off matter; all experience is to be gathered in."

Christine Mary Hearn notes that the Way of Affirmation holds that "God is manifest in many things and can be known through these things" as in Psalm 19. 1: 'the heavens declare the glory of God and the firmament his handiwork.' She notes too that it is the way of poets as was the case with Anne Ridler whose "devoted Anglicanism" was inspired by this philosophy found in her friend Charles Williams and the 17th-century poet Thomas Traherne. The Way of Affirmation should have particular resonance for Anglicans as the Genius of Anglicanism (greatly under strain in its present divisions) is its affirmation of both Catholicism and Protestantism.

Philippians 4.8 - "whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable — if anything is excellent or praiseworthy — think about such things" - encourages us to follow the Affirmative Way. No criteria is outlined for these categories, leaving us to interpret them for ourselves, but the assumption is made that if we seek such things we will find them.   

Simone Weil sets out a methodology for the Affirmative Way when she writes that in order "to receive in its naked truth" the object which is to penetrate our mind, "our thought should be empty, waiting, not seeking anything" and that such "absolute unmixed attention is prayer." Such a way of praying underpins much of the contemporary spirituality which draws on perceptions of Celtic Christianity. David Adam, for example, writes that:

“Much of Celtic prayer spoke naturally to God in the working place of life. There was no false division into sacred and secular. God pervaded all and was to be met in their daily work and travels. If our God is to be found only in our churches and our private prayers, we are denuding the world of His reality and our faith of credibility. We need to reveal that our God is in all the world and waits to be discovered there – or, to be more exact, the world is in Him, all is in the heart of God. Our work, our travels, our joys and our sorrows are enfolded in His loving care. We cannot for a moment fall out of the hands of God. Typing pool and workshop, office and factory are all as sacred as the church. The presence of God pervades the work place as much as He does a church sanctuary.” (Power Lines: Celtic Prayers about Work, SPCK, 1992)

Other examples of similar styles of prayer include, Alexander Carmichael’s Carmina Gadelica, a collection of Gaelic prayers and poems collected in the late 19th century, which “abounds with prayers invoking God’s blessing on such routine daily tasks as lighting the fire, milking the cow and preparing for bed.” Many of George Herbert’s poems use everyday imagery (mainly church-based as he was also a priest) and are based on the idea that God is found everywhere within his world. Ray Simpson and Ruth Burgess have provided series of contemporary blessings for everyday life covering computers, exams, parties, pets, cars, meetings, lunchtimes, days off and all sorts of life situations from leaving school and a girl’s first period to divorce, redundancy and mid-life crises.

Martin Wallace sums up this sense of paying prayerful attention to the everyday in order to affirm God's presence in the everyday when he writes: “Just as God walked with Adam in the garden of Eden, so he now walks with us in the streets of the city chatting about the events of the day and the images we see” (City Prayers, The Canterbury Press, 1994). He encourage us to “chat with God in the city, bouncing ideas together with him, between the truths of the Bible and the truths of urban life” and, “as you walk down your street, wait for the lift, or fumble for change at the cash-till … to construct your own prayers of urban imagery.”

Viewed in this way, Work No. 88 and the plastic bag scene from American Beauty are examples of the kind of prayerful attention which characterises the Way of Affirmation.
 
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Van Morrison - In The Garden.