Selling Out or Buying In? CCM Magazine and Anxieties over Commercial Priorities in Christian Music, 1980s–1990s
Journal of Religion, Media and Digital Culture (2020). In 1992, EMI acquired Sparrow Records. At that time, EMI was one of the “Big Six” (secular) major record labels; Sparrow was the largest and most successful label in the Christian record industry. As in other sectors of the music and entertainment industries, reactions to corporate consolidations are mixed. CCM magazine and its sister publications, for decades the primary sources of information about and for the Christian market, provide a unique opportunity to observe and analyze these tensions leading up to these mergers and acquisitions.
Review of Shout to the Lord: Making Worship Music in Evangelical America, by Ari Y. Kelman
Yale Journal of Music and Religion (2020). In this review of Ari Y. Kelman's Shout to the Lord: Making Worship Music in Evangelical America (NYU Press, 2018), I describe the strengths and challenges of examining the cultural production of worship music thematically, as Kelman has chosen to focus on songwriting, worship leading, and the music industry in sequence.
A soundtrack to God Rock, Inc.
Listen to the curated playlists of God Rock, Inc. I have created separate Spotify playlists for each individual chapter of the book; individual songs are flagged within the book itself with a little LP icon.
Catching Up with CAMD’s Andrew Mall: Creativity During the Pandemic, the Importance of Being Nimble, and What He’s Working on Next
Northeastern’s College of Arts, Media + Design (2020). We recently caught up with Professor Mall to talk about how the creative industries have shifted during the COVID-19 pandemic, how Northeastern teaches students to embrace the flexibility that is necessary to thrive in these changing conditions, and what he is currently working on. Read more below.
Conference Report: “The Future of Pop: Big Questions Facing Popular Music Studies in the 21st Century,” AMS Pre-Conference Symposium
Journal of Popular Music Studies (2020). In this article, we report on the two-day event, “The Future of Pop: Big Questions Facing Popular Music Studies in the 21st Century,” at Northeastern University in October 2019. The event was sponsored by the Popular Music Study Group of the American Musicological Society (AMS-PMSG), Northeastern University, and Amherst College as a pre-conference symposium tied to the AMS’s annual meeting in Boston.
Music / Business / Ethics at Christian Festivals
Music Festival Studies conference presentation (2020). In this paper, based on ethnographic fieldwork at Christian music festivals and formal interviews with festival organizers, I address festivals as sites of musical ethics made manifest. By focusing on specific niche Christian music festivals, I am able to emphasize the relationships between the values of their organizers, artists, and attendees and the lived experiences of the events themselves. But my conclusions have implications for the viability of the broader festival industry, particularly small events that cannot afford to compete with the Bonnaroos, Coachellas, and Lollapaloozas.
“As For Me and My House”: Christian Music Executives Roundtable
Journal of Popular Music Studies (2020). At the 2018 IASPM-US conference in Nashville, I organized a roundtable of Christian music executives. This was a unique opportunity to hear Christian music executives discussing the unique challenges and issues they face in a popular music market for which religious identity is necessarily a core component. Roundtable participants have worked in A&R, executive leadership, higher education, music ministry, music super- vision, production, publishing, radio promotions, and recording, among other roles, and represent more than 100 years of cumulative experience as music industry professionals.
Going Viral Helped Catapult Roddy Ricch and 'The Box' to No. 1 — But There's More to the Story
TIME (2020). It’s barely two months into 2020, but it’s already been a big year for rapper Roddy Ricch. The 21-year-old Compton artist has claimed the No. 1 spot on the Billboard Top 100 for the past five weeks with his viral earworm of a rap song, “The Box,” from his debut album Please Excuse Me for Being Antisocial, which is the longest-running No. 1 debut rap album to be on the Billboard 200 in nearly two decades since 50 Cent’s Get Rich or Die Tryin’ in 2003.
Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival
Journal of the Society for American Music (2020). Cornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago’s northern suburbs and then on a former farm in the rural western part of the state. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
Introduction: Festivals and Musical Life
Journal of the Society for American Music (2020). In this special issue of JSAM, my overarching goal has been to showcase the rich diversity of festival research, decentering popular music studies from it, and in doing so to demonstrate both that music scholars working in a variety of areas have much to contribute to contemporary popular and academic discourse on music festivals, and that festival studies has much to contribute to music scholarship beyond popular music studies. The articles collected here contribute to a broad interdisciplinary literature on music festivals. Each also illustrates the value of music festival research to the scholarship of music in the Americas.
“Lift Each Other Up”: Punk, Politics, and Secularization at Christian Festivals
Christian Punk, Bloomsbury (2020). This chapter focuses on the Chicago-based Christian Celtic-punk band Flatfoot 56, analyzing their performances in secular venues and at the Christian music festivals Cornerstone and AudioFeed. Arguing that Christianity and punk are inseparable to the band’s identity, the chapter analyzes their approach to religious communication in songs and from the stage. The chapter also addresses the evolution of Christian music festivals and the tensions around youth-focused niche forms of Christian music, such as punk.
'A Low-Key Bop.' How Dancing to the Home Depot Theme Song Became the Internet's Unlikely Obsession
TIME (2019). An unlikely yet catchy melody took the Internet by storm in recent weeks, bolstered by the looping, highly meme-able nature of TikTok, the social media platform that brokers in 15 second clips. The song? The humble Home Depot theme song, which, up until now was only prominently featured in commercials for home improvement, like installing tile or building a patio.
How Mariah Carey's 'All I Want For Christmas Is You' Became the Holiday Gift That Keeps on Giving
TIME (2019). The temperatures are dipping and twinkling lights are being hung, but nothing confirms that the holiday season is in full swing as cogently as Mariah Carey’s now-iconic holiday classic, “All I Want for Christmas Is You.” The festive track, a veritable pop masterpiece written and performed by Carey (with a co-writing assist from her longtime collaborator at the time, Walter Afanasieff) has consistently dominated not only the holiday music charts, but the zeitgeist since it made its joyous debut in 1994.
“Find a Way”: Amy Grant and Christian Pop’s Mainstream Crossover
AMS conference presentation (2019). In this paper I argue that Amy Grant’s success was the cumulative result of longer strategies to cross her over from the relatively small Christian market to the massive general mainstream pop market. Archival research reveals business and artistic decisions that prepared Grant for her first attempt at crossover with the 1985 album Unguarded.
The Future of Pop: Big Questions Facing Popular Music Studies in the 21st Century
AMS pre-conference symposium (2019). Despite the normalization of popular music studies over the last 50 years, complex questions linger about the state of the field and the directions it will take. “The Future of Pop” fostered interdisciplinary collaborations between scholars of different ranks and diverse backgrounds by encouraging conversations about the future of popular music studies.
‘Old Town Road’ defied a 20-year trend in hit music. Math explains why
PBS Newshour (2019). For more than two decades, Mariah Carey and Boyz II Men could not be knocked off their U.S. Billboard throne. From December 1995 to March 1996, their ballad “One Sweet Day” spent 16 weeks at the top of the charts, setting a record that outlasted the megahit-makers that came after them: Taylor Swift, Kelly Clarkson, Beyonce, Outkast, Green Day, Alicia Keys, Jay-Z and Adele. Then “Despacito” and “Old Town Road” arrived.
“Beer & Hymns” and Congregational Song: Participatory Sing-alongs as Community
Christian Congregational Music conference presentation (2019). Beer and Hymns is exactly what it sounds like: we raise our red Solo cups and lift our voices together to sing hymns, spirituals, praise songs, and folk songs together. Song choices include both secular and sacred selections, and the nightly gatherings attract participants from a variety of theological backgrounds, many of whom have an ambivalent or troubled relationship with Protestant Christianity (including mainline and non-denominational evangelicalism). Our voices entwine, and often our arms do, too. And by the end of the night, as our singing reverberates in the night, we emerge unified by our singing, even if only for one night.
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