Customer Reviews

Body Piercing Saved My Life: Inside the Phenomenon of Christian Rock

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i have to admit firstly that i wasn't sure i would like this book. i chose to read it for a look at a genre i was prejudiced against, hoping that it might change my mind one way or another.

it turned out to be much better than i expected. the whole book is not just about christian rock, but about the people who make it, and what effect their christianity has on their lives. beaujon has a wonderful journalistic style, not one you would expect from the pages of spin magazine, but something you would expect to find hidden in the pages of rolling stone magazine or in the editorial section of the big takeover.

amazingly, it made me want to go out and listen to some christian rock, a genre that i have tried to avoid like the plague for the last several years.

a wonderful book.

Christian rock is such a love/hate topic. Bands either embrace the label, reject it outright, or try to toe a line. Fans, writers, and magazines try not to get branded with the Christian rock kiss of death, even if they respect the genre as a whole. As a reviewer, I think my personal beliefs are going to come into play, so here they are: I'm a huge rock fan, a religious person, and I would never touch anything on a Christian record label with a ten foot pole.

Beaujon has made an important academic contribution to the study of the genre of Christian rock. I took a lot away from his book--U2's significant religious message and sentiment, the evolution of bands like P.O.D. who successfully crossed into mainstream rock respect, the roots of evangelical and worship music as a response to the hippie movement, and more. Beaujon references dozens of other books and magazines, and I'm very interested in picking up Doug Van Pelt's Rock Stars on God interview collection after reading Beaujon's comments about it.

One featured researcher/speaker , David Dark, theorizes that if God shaped everything in the Universe, then it is probably blasphemous to think that there is such as thing as a secular molecule anywhere. That is, Christians should engage in popular culture, and analyze it for messages as needed. Personally, I found this to be the highlight of the book--here is a Christian leader with a message that everything should be evaluated at face value, and there is no need for a secluded genre. Our author, however, dismissed the speaker with a comment that he "left the room wondering whether I'd just driven 750 miles to hear Christian kids get the okay to listen to Eminem."

There are gems in this nearly three-hundred-page novel, but as a body of work, this collection is aimless. Others have praised Beaujon's journalistic style, which I find to be precisely his downfall. This book reads like a collection of magazine pieces, and not even a serialized collection at that. Beaujon wanders around the country looking for material, but the book as no direction or thesis, and the chapters don't tie into one another. He prints interviews verbatim at times, rather than using the quotes to tell a story. As stand-alone magazine pieces, each of the chapters would be moderately interesting, but to sell this book as a definite source on the Christian rock phenomenon is misleading.

As a Christian who has refused to disengage my brain in order to embrace religion, I am encouraged that an agnostic writer would be willing to tackle the wooly subject of Christian rock and roll. Is such music the real deal? Is it all about money? Is it even necessary?

Beaujon approaches his subject with honesty, insight, and not even a smidgen of mean-spiritedness. He admits that the secular media has some biases toward this sector of music, but he himself explores the fringes and the heart of the matter with eyes open and intellect intact. "Body Piercing Saved My Life" is an admirable job of reporting, on any level. Not only does the author take us through the history of modern Christian music, he explores the trends and theologies that infiltrate it. He pulls no punches, showing the frustrations of those within the industry--regarding lifestyles, business practices, and censorship--but he also demonstrates the rare willingness of an outsider to enjoy and even be moved by the music. Admittedly, these moments of enjoyment come infrequently for him (for understandable reasons).

I was one of those church kids, back in the eighties, who loved rock music and wanted to be "with it." With parents who were pastors, this meant I had to rummage through the garbage pile of Christian music and hope to find gold flakes (no double meaning intended) in the stream of heavenly wannnabes. Of course, as the years passed, I realized that life could not be compartmentalized into simple boxes--despite the attempts of many preachers to do so. Although I've still managed to hold onto a belief in a relationship with Jesus, I've been discouraged by the industry's attempts to cover up scandals and to placate the masses with mediocre "worship" music. To hear Beaujon address these subjects is to be reminded that Christian rock and Christianity itself should be more than a phenomenon--they should be reflections of the love of Christ for those inside and out of the religious machine.

Andrew, thank you for "risking" a year in the trenches of American Churchianity. I would've loved more focus on fringe bands (such as Underoath, As I Lay Dying, As Cities Burn, Project 86), but you did a remarkably comprehensive job. Your candid, yet mostly kind, words should be a challenge for thought and action on the part of all those involved.

I'll have to admit, as a disaffected fan of CCM I was more than eager to read this book. I have long been disenchanted with the music scene that Andrew Beaujon explores. In fact, I doubt that I would have been able to write such a book without a breakdown to subjectivity. Perhaps that is why Beaujon is able to write so fairly and honestly. Rather than having an axe to grind, the author writes mainly to answer his own questions. And the results make for an interesting commentary on a unique aspect of American culture.

This book is not meant to be a history of Christian rock, nor is it exhaustive in detail. That allows Beaujon to do what he does so well: focus on personalities. If you are already an insider to this scene many of these names will be familiar to you. Steve Taylor, Doug Van Pelt, and Brandon Ebel are among a few of the subjects that the author explores. Beaujon doesn't dwell on the "who did what" of the story. Instead, he digs beneath the surface in order to figure out why these people have created an alternative universe for their art. When Beaujon trudges from festival to festival it is hard not to be somewhat amused as he sadistically forces himself to listen to mediocre rock bands in order to wait for interviews that never come. Indeed, his own frustrations often come out in the book as industry insiders are protective of their closed community. Considering the circumstances, I think he has done well.

Personally I didn't care for how Beaujon interrupted the flow of his narrative by mixing transcribed interviews in with his more conventional chapters. And I must register a small complaint that, having little interest in the current crop of musicians, I had found myself nodding off during interviews with mewithyou, Mute Math, and a slew of other forgettable bands. My age probably has something to do with that. Still, after hearing of the frustrations of getting interviews I understand that the opportunities for other interviews may have been limited. Finally, I will admit I was rather turned off by his chapter devoted to Rock For Life. I can understand how this particular organization might fit into the book as a minor subpoint, but I don't think it is worth highlighting this organization in a book about Christian rock music. Save your research for the next book!

Overall, I enjoyed this book. As hard as it is for me to stand outside what I see as part of my own religious upbringing, I am glad to finally hear a true outsider's perspective. I suppose in all fairness I should admit my bias in reviewing this book. I spent some time talking with Andrew early on in his research and you will find my name in the acknowledgements. However, that is only worth about one star in my review of this engaging book. This is as fair a treatment of this subject matter as you will find anywhere. I can say personally that this is truly a topic that was of great Mr. Beaujon and that he writes with an open mind. I think this book will appeal to anyone who wants to understand our culture's preoccupation with the Christian religion.

I think there's something in all of us that loves to know what other people think of us. Growing up in the `90s under the "christian music only" rule, and a (former) collection of over 300 christian rock cds, I found this aspect of my life under scrutiny from the "outside." And I loved it.

In Body Piercing Saved My Life, Beaujon offers a very candid look at the christian rock music industry. I have to say that I learned a ton about the music industry in general by reading this book. Seeing the behind the scenes issues, the financial policies, the tensions, etc. was something new for me.

The book focuses more on people than anything, and I think Beaujon realizes that you can't really learn much from caricatures or stereotypes. (I guess that's why he wrote the book). This, for me, was incredibly interesting, as he basically related a series of interviews, relationships with figures in the scene, and how they all fit into the big picture.

I can't say that I found much to disagree with in the book. I resonated strongly with David Bazan's confusion and then rejection with the charismatic background he was raised in. I very much agreed with Beaujon's analysis of modern praise music as "more than a little sexual and a tad uncomfortable if you're sitting next to an attractive person who's been overcome by the Spirit." (159). He pointed out the similarities between the way Deadheads and now the current jamband scene experience their music, and the current "worship experience." I thought I was the only one who saw that! As one who has had deep experiences in both scenes, I thought his analysis was right on and matched my experience perfectly. He also points out many of the quirks and foibles in modern american evangelicalism, and I couldn't really argue with any of them.

I think I share the same opinions with Beaujon when it comes to american evangelicalism and its music. For me, I've rejected it in favor of a bare-bones, bible based faith which rejects most of the trappings of this sub-culture (some would label me a "fundamentalist," though (like we all say) "it's much more nuanced than that!") When I "got convicted" about my music, it wasn't just the Grateful Dead that got tossed out, it was my entire music collection, all 300+ christian rock cds included. Beaujon, in contrast, finds himself identifying with those christians who reject the american evangelical subculture in favor of the world's culture, and an emphasis on a social gospel.

I found this fascinating: "As I left, [Jae] Choi asked me if I was a Christian, and when I said no, he handed me a tract. I was on the plane home before I realized that I'd been working on this project for six months, and it was the first time anyone had tried to evangelize me." (168)

It's apparent to me, also, that Beaujon doesn't understand the gospel: "To me, the message of the Gospel is love one another, look out for the less fortunate, and try to walk gently on the earth." (271). This is, in fact, the "gospel" that many american evangelicals are currently preaching. To me, the message of the gospel is this: even though I am a wretched sinner who knows that I deserve hell and have no possible way of saving myself from it, God Himself took the initiative, became a man, took my sin upon Himself, and received the punishment I deserve. The way is clear for a restored relationship with the Creator of the universe! That's good news!

I loved Beaujon's writing style. It was downright art at times. I also loved his transparency, and felt that this was a pretty unbiased, straightforward account of the scene. I didn't feel any hatred or malice or desire to make anyone look stupid; (if anyone looks stupid in this book, they brought it upon themselves). Overall, I wouldn't say that I necessarily gained a whole lot by reading this, but I found it fascinating and enjoyable to read.

I thoroughly enjoyed this book. I am a Christ follower, and it was interesting reading about the history of Christian rock. Of greater interest to me was looking at things from Andrew's perspecitve on Christianity as a self-described non-Christian (not anti-Christian). Beyond his perspectve on Christianity and Christian music, my favorite thing was the occasional glimpse into his own personal journey and thoughts.

Beaujon is a senior contributing writer for Spin...and a PK (preacher's kid). He is not a believer and in "Body Piercing Saved My Life" (a reference to a popular t-shirt sold at Christian music festivals which shows the pierced hands of Jesus above the slogan) he presents a non-Christian perspective of a Christian industry. Seeking to answer, "Why do Christians need their own music?" He comes out of this quest not as a Christian but as one who is "a fan, not just of the music, but of Christians, and of Jesus himself." Beujon visits many key Christian festivals and events in search for an answer; he also travels off-the-beaten-path to visit a number of indie labels and in order to introduce readers to the likes of Pedro the Lion and The Psalters.

There are a number of "Christian Rock Lifers" interviews which break up the book--and ultimately do just that--they break up the flow of the narrative. Not that the interviews are bad (he speaks with Doug Van Pelt, Steve Taylor, Jay Scwhartzendruber, Bill Hearn, Mark Salomen and others--it's just that they would serve better as appendices.

Beaujon does a great job traveling not only geographically, but taking the reader back in time. In the second chapter, "No More LSD for ME (I met the Man from Galilee" he jumps back in time to the "early days of Christian rock music" notable for "the smell emanating from the musicians, reconstructed hippies crammed into a station wagon, lying on the top of amps as they traveled from church to church. They loved Jesus. They didn't shower much."

As I mentioned early he visits a number of musicians and those who run independent Christian labels. His quest includes a stop at Calvin College's Festival of Faith and Music. Really, through the first half of the book he heaps praises on the indie spirit of early Christian musicians and highlights of the alt-Christian acts on labels like Tooth and Nail that are creating interesting music that appeals to non-Christians like himself. Then he heads to GMA Week.

The chapters on his time in Nashville for the Gospel Music Associations main event are highly amusing. It is there that he gets baptized into the world of "worship music."

"Worship music is Christian Music, and it's rock music, but, confusingly, it's not quite the same thing as Christian rock. Most good size evangelical churches have their own worship bands, which lead the congregation in a sort of amplified folk mass. Worship music has "hits," songs that appear on compilations like Worship Jamz and are licensed to individual churches through Christian Copyright Licensing International, a company that also keeps track of the most performed songs in churches and pays songwriter royalties, much like ASCAP and BMI.

... If you've seen that TV commercial for Time-Life's Worship Together Collection, you've heard worship music. Much--not all, but enough to tar the whole genre--of it sounds like Christian pop scrubbed of any remaining hint of menave. It's usually an updated form of folk-rock, anchored by drum loops and crystalline acoustic guitars, reminiscent of artists like Counting Crows or Hootie & the Blowfish, but with earth-shattering choruses that make those artists look like amateurs."

This conversation continues a few pages later...

"...I'm not saved and don't think I ever will be, but if such a miracle were to take place, I can't imagine anything worse than being forced to pay for my salvation by listening to worship music for the rest of my days.

Worship music is the logical conclusion of Christian adult contemporary music--not just unappealing but unbearable to anyone not already in the fold. Every song follows the same parameters. It opens gently, with tinkling arpeggios or synthesized harp glissandos that portend the imminence of something celestial in glacial 4/4 time. In the second verse, the band--invariably excellent players--soft-pedals in, gaining in volume to the bridge. And then the chorus. Heavens, the choruses. They could put U2 out of business for good, they're so huge. Another verse. A middle eight. Then, a breakdown when the audience takes over singing. Another massive chorus. Fin."

This isn't music to appreciate; it's music to experience. People at a worship service close their eyes and, as ecstasy spreads across their faces, begin to rock rhythmically, arms out, mouthing the lyrics. It's more than a little sexual and a tad uncomfortable if you're sitting next to an attractive person who's been overcome by the Spirit."

Body Piercing Saved My Life offers an in-depth look at the Christian music industry and the Christian music indie scene from someone on the outside who is not a Christian and yet respects several key players in the scene. This is a book worthy of dialogue between believers and unbelievers. Beaujon also drops a number of names of musical artists who I had not heard of and have since added to my collection. I highly recommend this very insightful book.

Related reading:
Charlie Peacock presents an insiders look at Christian music in his book "At the Crossroads" (Broadman & Holman, 1999).

Beaujon writes a good book. I read it quickly. As a rural pastor and a huge fan of Christian Rock since the 70s I was impressed with this "agnostics' take on the subject matter. I have read a few reviews that comment on beaujon's nuetrality which I disagree with. Toward the end of the book Beaujon admits his dad was a pastor who had an affair with a church member and stole money from the next church he "landed at." Sad. Beaujon does in-depth work with several disaffected personalities in Christian Rock that I would contend are unknowns or at least alt acts that few kids could care about. When talking with Bazen and others who get paid for playing to Christians audiances they seem to loath or distrust, Beaujon gives them free space to rail, question or act typically artist like. In his few takes with true lifes like Taylor and the head of word he ask questions I could have come up with. So I think the word "balance" is tough to give Beaujon. I see him featuring the Bazen and company to confirm his own quite problems with the faith. Beaujon had to be affected by the sad actions of his dad. Those actions must have crushed his faith. If he knows it are not he bleeds all over the pages with his pain. I think he exudes that some things about the faith are good, but I can't enternalize it. I hope he will continue to study Christianity and I think the object of the worship music he distains will continue to patienly seek him.

...though not a great one. most of you will remember the author as frontperson of Eggs, the band that gave us the classic LP "Teenbeat 96 Exploder." since that time, Beaujon has enjoyed success making journalism (of which this book is part). the book does a good job of providing some background and perspective on a subject widely misunderstood by outsiders (whom i count myself among). my criticisms are pretty much the sort that could be levelled against a vast number of music books. there's some distracting editorializing outside the (presumed) subject matter (anyone for a rehash of Dave Matthews vs. the Dismemberment Plan?) and no mention of some figures who've enjoyed notable crossover appeal: the sublime electronica of Joy Electric, Roadside Monument (a sort of Don Cab for Jesus) and the Sam/Leslie Phillips phenomenon. in terms of political orientation, the Serious Christian rock audience (as opposed to, say, those Serious Christians who limit their intake to Christian Rock) are as likely to speak well of Mr. Obama as Mr. Huckabee. overall, it's a terribly, terribly complex subject that Beaujon is to be commended for tackling.

I read this book after I read "Faith, God, and Rock and Roll" by Joseph. I liked that book very much, but this one was a bit better. As an outsider, Beaujon takes a relatively objective look at Christian music and what it tries to do. However, just because he's an outsider doesn't mean he is not sympathetic to these musicians and what they're trying to do. I believe that it comes through in the book that Beaujon is sympathetic to any musician who takes his/her job seriously. I think Beaujon has a certain respect for anyone who is passionate about what they do.
That said, the book is a sometimes fascinating (David Bazan), sometimes frustrating (music executives, blah blah) read. Personally, I think the topic of whether Christian musicians should make music only for Christians or for the "outside market" is a fascinating one. I see both sides of the argument and I think it's a good argument (how about debate"?) to have. This book is a nice addition to the growing literature which asks tough questions of Christians concerning their (sometimes) insular musical genre.