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Why We Are Opposed to CCMThe following is an excerpt from our book “Contemporary Christian Music: Some Questions Answered and Some Warnings Given.” There are many that do not understand why anyone could be opposed to Contemporary Christian Music (CCM). Is it not the music that is played on most Christian radio stations and the music that is available in most Christian bookstores and the music used in churches across the denominational divide?

Does it not sing of Jesus Christ and grace and is it not lifted in praise of the living God? How could something so popular and sincere be wrong? People have many misconceptions as to why someone would oppose CCM. They think that he must believe that good Christian music stopped being written when Fanny Crosby died or that he must be a legalist or perhaps that he is a latent racist or is mean- spirited or that he doesn’t like to have fun and doesn’t want anyone else to have fun or that he must not like new things.

Personally, I like new things better than old things in many cases. I stay at the cutting edge of technology, for example. But when it comes to my “religion,” I do like it old for the simple fact that it is old. The newest part of my Bible and my Christian faith is 2,0. Bible truth is not contemporary and it will never be considered cool by the world unless it is distorted. Thus I am committed to the old Bible and the old Paths that are taught therein. It is by the old Standard that I must test every new thing.

Following are four of the reasons that we are opposed to it. Contemporary Christian Music is worldly music. Contemporary Christian Music is ecumenical music. Contemporary Christian Music is charismatic music. Contemporary Christian Music weakens the fundamentalist stance of a church. CONTEMPORARY CHRISTIAN MUSIC IS WORLDLYThe first reason that we oppose Contemporary Christian Music is because it is worldly, meaning it is not separated from the world as the Scriptures demand.

If any man love the world, the love of the Father is not in him. For all that is in the world, the lust of the flesh, and the lust of the eyes, and the pride of life, is not of the Father, but is of the world. And the world passeth away, and the lust thereof: but he that doeth the will of God abideth for ever” (1 John 2: 1. Ye adulterers and adulteresses, know ye not that the friendship of the world is enmity with God? For the grace of God that bringeth salvation hath appeared to all men, teaching us that, denying ungodliness and worldly lusts, we should live soberly, righteously, and godly, in this present world” (Titus 2: 1. When Israel broke down the walls of separation and failed to make a distinction between the unclean and the clean, the holy and the unholy, God judged them.

This is an apt description of the CCM philosophy. It puts no difference between the holy and the profane. All dress styles are holy; nothing is profane.

God is the God of everything. The worldliness of Contemporary Christian Music is seen in that the contemporary music itself borrows from the world’s sensual rhythms. Contemporary Christian Music openly and proudly uses any type music in the service of the Lord and refuses to separate from music that is openly used in the worship of the flesh and the devil. What is worldly music? Worldly music is music that sounds like the music used by the world for sinful activities. John defined the world as “the lust of the flesh, and the lust of the eyes, and the pride of life” (1 Jn.

Music that is characterized by these things is worldly music, and that is certainly true for blues, jazz, rock, rap, reggae, and other forms of modern dance music. This type of music has an intimate association with immorality, drunkenness, drug abuse, gambling, prostitution, and other evils, and it is impossible to disconnect the music from this association. It is called the anapestic beat. This is a poetic term that describes poetry using three syllables with the emphasis on the third - - da- da- DA, da- da- DA. In music, the anapestic or back beat emphasizes the off beat.

The anapestic rock beat goes one- TWO- three- FOUR or one- two- THREE, one- two- THREE. This is in contrast with a “straight” or march beat, which has the emphasis on the first beat or on each beat equally - - one- two- three- four, one- two- three- four, or ONE- two- three- four, ONE- two- three- four. This backbeat is the chief characteristic of pop music.

Consider these quotes: “I felt that if I could take a .. I dig that rock and roll music; it has a back beat; you can't lose it” (Chuck Berry).“When they play their music, ooh that modern music, they like it with a lot of style; but it's still that same old backbeat rhythm that really, really drives 'em wild” (“The Heart of Rock & Roll” by Huey Lewis and the News).“It’s the beat that gets to you. If you like it and you feel it, you can’t help but move to it. That’s what happens to me. I can’t help it” (Elvis Presley, cited by Steve Turner, Hungry for Heaven, p. The rock musicians themselves describe their music as “sexy” and they claim that the sex lies in the heavy back beat. Consider just a few examples of this: Irwin Sibler of Sing Out magazine said, “The great strength of rock & roll lies in its beat.

It is a music which is basically sexual, unpuritan..” (Sing Out, May 1. Debra Harry of Blondie says, “The main ingredients in rock are sex and sass” Hit Parader, Sept. Jan Berry of Jan and Dean says, “The throbbing beat of rock provides a vital sexual release for adolescent audiences” (cited by Blanchard, Pop Goes the Gospel). Chris Stein, lead guitarist for Blondie says, “Everyone takes it for granted that rock and roll is synonymous with sex” (People, May 2.

Rapper Luke Campbell of 2 Live Crew says, “The sex is definitely in the music, and sex is in all aspects in the music.” Rocker Tom Mc. Sloy says: “Rock is visceral. It does disturbing things to your body.

In spite of yourself, you find your body tingling, moving with the music” (Tom Mc. Sloy, “Music to Jangle Your Insides,” National Review, June 3. Paul Stanley said, “Rock . It’s based on one’s lower nature” (cited by John Muncy, The Role of Rock, p. John Oates of Hall & Oates says, “Rock . Allan Bloom, author of The Closing of the American Mind, observed: “..

Simon Frith, author of Sound effects, said, “We respond to the materiality of rock’s sounds, and the rock experience is essentially erotic” (Sound Effects, New York: Pantheon Books, 1. David Elkind, chairman of the Eliot- Pearson Department of Child Study at Tufts University in Massachusetts, said: “There is a great deal of powerful, albeit subliminal, sexual stimulation implicit in both the rhythm and . Frank Zappa of the Mothers of Invention said, “Rock music is sex. The big beat matches the body’s rhythms” (Life, June 2.

Malcolm Mc. Laren, punk rock manager, said: “Rock ! The moment it stops being those things, it’s dead . Adam Ant says, “Pop music revolves around sexuality. I believe that if there is anarchy, let’s make it sexual anarchy rather than political” (From Rock to Rock, p. Clean Up Steam Install Files In Mac there. Gene Simmons of Kiss said, “That’s what rock is all about—sex with a 1. Entertainment Tonight, ABC, Dec. Observe that most of these statements do not refer to rock music in general but to the rock back beat in particular.

The sensual and sexy back beat has been the chief characteristic of worldly dance music since the beginning of the 2. It characterized all of the streams of music that fed into rock, including ragtime, boogie woogie, jazz, honky tonk, and Caribbean. We agree with Dan Lucarini, former contemporary praise leader, when he says: “I am now convinced that God will not accept our worship when it is offered with music styles that are also used by pagans for their immoral practices. He is a jealous God.

If you grasp this principle alone, it will change for ever the way you lead a worship service” (Lucarini, Confessions of a Former Worship Leader, p.