Friday, March 28, 2008

Christian Culture 101: What's the point?

The adverse fall of youth in Western society can unfortunately be almost entirely attributed to the diva of “Hit Me Baby, One More Time”. I have often found it strange that a young pre-teen could appropriately make money with a loaded title that inevitably attracts sexually charged boys and men old enough to be her grandfather. Still, we must give Britney all the credit due her. Without these influential pop songs filled with innuendos, we would not be able to see the birth of a generation of girls highly engrossed with the inspiration of a young girl extrovertedly seeking success measured by anything but integrity. The archaic art of pigtails, bubblegum, and bare mid-drifts reinvented themselves with the surfacing of the commonality of the Catholic schoolgirl fantasy. Britney was at the forefront of the pop music scene, and highly influenced other youngsters to sign a contract allowing their voices to be fully produced and mutated into something that resembles R2D2, the famous, ever-popular android from the Star Wars epic.

Upon the growing successes of pop music icons such as Britney, Christina, N*Sync, and Backstreet Boys the upswing of replica groups began to speed toward the summit. “Genie in a Bottle” hit the top of the charts along with “Tearin’ up My Heart” and “Quit Playing Games with my Heart”. The success of the boy band phenomena began to grow across seas, but the local support seemed to be less than fair. But in 1997, Backstreet Boys kicked off a tour with the global girl group, the Spice Girls, and debuted their ironic album, “Backstreets Back”, proving that pop music was taking over the Discmans and radio spots. This trend continued to grant success thanks to the teenage girl demographic, to groups like N*Sync, BBMak, Five, and O-town. As boy bands sprang up every day, the solo girl albums took the top chart spots. At the beginning of Britney’s solo career, she first toured as the opening act for both N*Sync and Backstreet Boys. The family of pop music appeared to be growing, but remained extremely exclusive.

Every artist has a beginning group that they hope never surfaces. Britney Spears sardonically upon departure of the new Mickey Mouse Club joined forces with fellow mouseketeer Nikki DeLoach. This group, like all of the above mentioned, were managed by Lou Pearlman and Transcontinental Records. The Stacie Orrico train began to mimic the efforts of these predecessors led by scantily clothed 16-year olds. As Stacie sang to her own tune of honesty and integrity, “mainstream” artists talked primarily about being a “Slave 4 U” and in-”Toxic”-ated. Unfortunately, the manifestation of mainstreaming Stacie Orrico became over-whelming, and in the summer of 2006 the flop of Orrico’s first “competitive” album was released and swallowed by Jessica Simpson, Justin Timberlake, and Beyonce. Despite the irony of Stacie’s album, “The Great Awakening” many people never were made aware of her once anticipated album.

Stacie Orrico attempted to prove to her young audience that Christians can be sexy, talented, successful people. Hip dances, up-tempo beats, and costumes that let everyone know that she was indeed proud to be a girl, seemed to be masked by a big, fluorescent light that blinked ferociously the word “SIN”. Unfortunately, the Christian community had a hard time swallowing the idea of “sexy” on a Christian role model, which resulted in a plummet of the fence Stacie attempted to ride both sides of. Without valid reason, Stacie proved, that a career being backed by both the Christian and “secular” audiences is a feat that her God-given talent was unable to overcome. Why must this invisible wall of segregation continue to be held high separating Christian and “secular” music? Many groups have continued to try and ride the fence, but inescapably end up having to choose a side. Creed, Reliant K, as well as others have fallen to what many Christians would treat as the “dark side”. This unfortunate severance confuses the audience. This unknown partition is strangely not about the message of the music (although many might disagree) but it is about the stubbornness of minds that have prejudicial thoughts in reference to the titles of these fictitious genres. Might it be time for a change?

Everything starts somewhere...life is a process. But why must so many conservative Christians feel the need to deliberately build an enclosed wall leading towards one goal...who wants to walk down a secluded corridor towards one truth or holiness? We should definitely be seeking after God above all things...but is this a situation of "OR" or a situation of "AND"? Must we choose?

The ranting and raving of me.

No comments: