Kirjahaku

Today pentecostalism claims nearly 500 million followers worldwide. An early stronghold was the American South, where believers spoke in unknown tongues, worshipped in free-form churches, and broke down social barriers that had long divided traditional Protestants. Thriving denominations made their headquarters in the region and gathered white and black converts from the Texas plains to the Carolina low country. Pentecostalism was, in fact, a religious import. It came to the South following the post-Civil War holiness revival, a northern-born crusade that emphasized sinlessness and religious empowerment. Adherents formed new churches in the Jim Crow South and held unconventional beliefs about authority, power, race, and gender. Such views set them at odds with other Christians in the region. By 1900 nearly all southern holiness folk abandoned mainline churches and adopted a pessimistic, apocalyptic theology. Signs of the last days, they thought, were all around them. The faith first took root among anonymous religious zealots. It later claimed southern celebrities and innovators like televangelists Oral Roberts, Jimmy Swaggart, T. D. Jakes, and John Hagee; rock-and-roll icons Elvis Presley, Jerry Lee Lewis, and Little Richard; and, more recently, conservative political leaders such as John Ashcroft.With the growth of southern pentecostal denominations and the rise of new, affluent congregants, the movement moved cautiously into the evangelical mainstream. By the 1980s the once-apolitical faith looked entirely different. Many still watched and waited for spectacular signs of the end. Yet a growing number did so as active political conservatives.

When rock ’n’ roll emerged in the 1950s, ministers denounced it from their pulpits and Sunday school teachers warned of the music’s demonic origins. The big beat, said Billy Graham, was “ever working in the world for evil.” Yet by the early 2000s Christian rock had become a billion-dollar industry. The Devil’s Music tells the story of this transformation.Rock’s origins lie in part with the energetic Southern Pentecostal churches where Elvis, Little Richard, James Brown, and other pioneers of the genre worshipped as children. Randall J. Stephens shows that the music, styles, and ideas of tongue-speaking churches powerfully influenced these early performers. As rock ’n’ roll’s popularity grew, white preachers tried to distance their flock from this “blasphemous jungle music,” with little success. By the 1960s, Christian leaders feared the Beatles really were more popular than Jesus, as John Lennon claimed.Stephens argues that in the early days of rock ’n’ roll, faith served as a vehicle for whites’ racial fears. A decade later, evangelical Christians were at odds with the counterculture and the antiwar movement. By associating the music of blacks and hippies with godlessness, believers used their faith to justify racism and conservative politics. But in a reversal of strategy in the early 1970s, the same evangelicals embraced Christian rock as a way to express Jesus’s message within their own religious community and project it into a secular world. In Stephens’s compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.