Search  for anything...
Crossway

All God's Children and Blue Suede Shoes (With a New Introduction / Redesign): Christians and Popular Culture (Volume 7)

    • Based on 38 reviews
Condition: New
Checking for product changes
$21.99 Why this price?

Buy Now, Pay Later

As low as $5 / mo
  • – 4-month term
  • – No impact on credit
  • – Instant approval decision
  • – Secure and straightforward checkout

Ready to go? Add this product to your cart and select a plan during checkout. Payment plans are offered through our trusted finance partners Klarna, PayTomorrow, Affirm, Afterpay, Apple Pay, and PayPal. No-credit-needed leasing options through Acima may also be available at checkout.

Learn more about financing & leasing here.

Selected Option

Free shipping on this product

This item is eligible for return within 30 days of receipt

To qualify for a full refund, items must be returned in their original, unused condition. If an item is returned in a used, damaged, or materially different state, you may be granted a partial refund.

To initiate a return, please visit our Returns Center.

View our full returns policy here.

Availability: In Stock.
Fulfilled by Amazon
Arrives within 30 days
Order within 15 hours and 25 minutes
Available payment plans shown during checkout

Format: Paperback


Description

Every generation faces unique challenges. The first-century Church had Caesar’s lions and the Colosseum. And, while it might seem like an unlikely comparison, the challenge of living with popular culture may well be as serious as persecution was for the saints of old.Today we witness the tremendous power of pop culture to set the pace and priorities of our lives. We simply cannot afford to be indifferent about culture’s influence―nor can we escape it, glibly condemn it, or Christianize it. Cultural expert Ken Myers helps us to engage pop culture from a historical and experiential perspective so that we can live in it with wisdom and discernment. Read more


Publisher ‏ : ‎ Crossway; With a New Introduction / Redesign edition (February 29, 2012)


Language ‏ : ‎ English


Paperback ‏ : ‎ 224 pages


ISBN-10 ‏ : ‎ 1433528223


ISBN-13 ‏ : ‎ 24


Item Weight ‏ : ‎ 9.6 ounces


Dimensions ‏ : ‎ 5.5 x 0.45 x 8.5 inches


Best Sellers Rank: #387,145 in Books (See Top 100 in Books) #1,422 in Popular Culture in Social Sciences #25,803 in Christian Living (Books)


#1,422 in Popular Culture in Social Sciences:


#25,803 in Christian Living (Books):


Frequently asked questions

If you place your order now, the estimated arrival date for this product is: within 30 days

Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.

To initiate a return, please visit our Returns Center.

View our full returns policy here.

  • Klarna Financing
  • Affirm Pay in 4
  • Affirm Financing
  • Afterpay Financing
  • PayTomorrow Financing
  • Financing through Apple Pay
Leasing options through Acima may also be available during checkout.

Learn more about financing & leasing here.

Similar Products

Top Amazon Reviews

    • Well-researched critique of popular culture's form and main medium
For several years I have enjoyed Ken Meyers Mars Hill Audio Journal periodically as he brings together people from all fields and disciplines to teach people the importance of thinking religiously from an interdisciplinary place of depth and meaning. This book is a serious and stern critique of popular culture and it's main medium: television. Although some reviewers of this book have considered it a little highbrow, if not extreme, to be useful, I would wholeheartedly disagree. If you feel that way by the end of chapter two simply read it like you would Kierkegaard- "don't be put off by the hyperbole or generalizations, he's making an important point so don't miss it." Meyers main thrust in the book is that post 60's there is a firmly established thing called popular culture mediated to us in images and that this cultural medium is making us dumber. He argues popular culture, in distinction to folk culture and high culture, does not do what the great artists of the past did, and that this is often true because it is the product of jaded marketers instead of real artists. The artists of high and folk culture tended to draw us into human universals. They stretched us, and experiencing their art was a human exercise of the mind and affections. We had to work at it to understand and we experienced either a clarification, a deepening appreciation, or a revelation of something we somehow didn't know but knew we should have known. The artist helped us become more human by drawing us into a more developed experience with a human universal. Contrary to this, popular art does not do this with nearly the same frequency or depth. It is immediate, easy (not an exercise of growth), it markets to us what we already know, and deals mostly with trivialities- or treats serious subjects trivially, and communicats a form of knowledge that is immediate rather than reflective, physical rather than mental, and emotional rather than volitional. Meyers argues this is true in the degeneration of high cultural art forms, but even more so in the transition form what Neil Postman called "print-based epistemology" and "television-based epistemology", or what Jacques Ellul has called "the humiliation of the word". Because television holds to the main medium of images, it does not communicate linearly or logically. As Meyers says, "images cannot make an argument", they are at the mercy of the response of the viewer, and whatever the viewer transfers onto the images. Throughout the volume Meyers brings us to the right discussions. How the medium effects the message, the nature of post-industrialism boredom, the contrast of Montaigne's and Pascal's theories of leisure and diversion and their effects on culture, the concrete differences between high, folk and popular culture, the effects of the 60's on the transition to image based cultural discourse, the liberating and isolating effects of "Liberalism", tension of Romanticism celebration of the primitive and Rationalism's triumphalist machine of secular scientific progress effected the development of rock music, and on and on and on. Negatively, There are many places I wish Meyers had argued as if we were not agreeing with him as he asserts things. Truly, his authoritative sources are very good ones who say what they say compellingly, but there were a bunch of places I wanted more explanation of why something is the case. I wanted more reasons and more development. Concerning recommendation, this book is no doubt written with an evangelical Christian readership in mind. Yet, Meyers is no homeowner in the Evangelical intellectual ghetto. This book could be read much more widely with profit, and I would recommend it to a non-Christian reader without hesitation, not because it is evangelistic; but because Meyers is a Christian who can think and clearly has. And I think one of the greatest weaknesses of the libertarian and liberal intellectual projects today is a misunderstanding of the teleology of culture and the inability of the free market or the secular liberal to make a culture good. Meyers offers a meditation that is inclusive and should not be alienating to the non-Christian reader, though it is distinctively Christian. Most can take away something important from this book. In short I recommend this book highly because Ken Meyers has actually though more than ten minutes about orthodox Christianity and how scriptural religion affects our understanding of culture. So many American Christians are in his words "of the world but not in the world" (the tongue in cheek opposite of the biblical injunction to be "in the world but not of the world"). Meyers simultaneously calls Christians out of the evangelical ghetto where we copy everything we liked in the "secular world" and make it, to use Derek Webb's category, "explicit" (meaning we dumped explicitly Christian lyrics into rock riffs we like, etc) and yet he also does not call us to drink deeply from whatever popular culture offers us (For example one might see that a Christian might want to avoid most of the summer block busters that feature mostly flesh and fighting, but yet see universal human art in films like Fight Club or Unbreakable or The Village). In short, it may be true that we (contemporary Americans) are being controlled by those who seek to inflict pleasure on us, and that it is what we love that will ruin us. (in case that sounds like fundamentalist ramblings, that is almost a direct quote from Aldous Huxley as quoted by Neil Postman) This is a refreshing book, with a great bibliography and a refreshing reach outside the common Evangelical sources. ... show more
Reviewed in the United States 🇺🇸 on September 9, 2005 by Nicola Gibson
    • The greenleafblog.net review
All God's Children and Blue Suede Shoes is one of the most thought provoking books I have read in a long time. If you've ever stepped back from modern evangelical culture and stared at it with a confused expression, a strange feeling gnawing at the pit of your stomach, while scratching your head, this just might be the book for you. Kenneth Myers has some serious concerns with popular culture and what it is doing to our society. More specifically, he has problems with evangelical pop culture and what it is doing to the hearts, minds and spirits of evangelical Christians. Myers issue is not so much with the content of pop culture, but with the form itself. He insists that even the "Christianized" forms of pop culture emphasize the immediate and shallow over the transcendent and deep. It promotes numb mindlessness over deep reflection. This book is a call for Christians and the Church to stop imitating pop culture with our own versions of celebrity, television, music and magazines (just visit any Christian bookstore to get a sense of the magnitude of Christian pop culture knock off), but to provide a true alternative, as a living example of alternative methods and content. Myers distinguishes between Folk culture, High culture and Pop culture. He traces the history of Pop culture, a relatively new phenomenon. Basically it is a result of the lowest common denominator. It is a leveling out and smoothing over of high and folk culture to appeal to a mass audience in a global and industrial society. It is designed and marketed not to encourage reflection, but to maintain the status quo. High culture is designed to elevate the thoughts and emotions and to encourage reflection on the transcendent. It takes an engaged mind and work to understand and appreciate. It doesn't leave a person the same. Folk culture is a product of a place and a community, the product of a worldview. It is a shared tradition and contains shared values. Folk culture holds one accountable to shared community values while pop culture is all about the individual. I think anyone who has listened to much modern worship music will recognize this effect working it's way into Christian culture. Myers points to Philippians 4:8, "Whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable - if anything is excellent or praiseworthy - think about such things." For Myers these are definitely exhibited easier and better in folk and high culture and rarely if ever in pop culture. One of the key issues that Meyer is seeking to address is the wholesale embrace of the methodology of pop culture by the church under the banner of contextualization. He points out that the church has long been the bastion of High culture, elevating minds and hearts and focusing people's attention to the transcendent, and folk culture, instilling communal values and cultural heritage. Now, however, the church is often simply imitating the worst of pop culture and mixing in a little Jesus. A major result of this is that the church has adopted the marketing stance of pop culture, luring people with cool music and advertising rather than the Gospel. Myers believes that this is a direct result of evangelical Christianity's wholesale embrace of popular culture's methodology. I don't always agree with Myers. I'm not sure that rock music, movies, etc. cannot become high or at least folk culture. I'm thinking here of some great and transcendent films or music with excellent lyrics. Basically I'm saying things aren't always as cut and dried as Myers makes them and he obviously never cared much for rock or television or film to begin with. I do agree with most of what he says because his point is basically this: Christians need to stop selling out to trite and cheap imitations of a trite and cheap world. We need to think about the means as well as the end. We need to think about what our methodology conveys. Instead of asking what people want and giving it to them (pop culture) we need to ask what they need and help them come to understand their need for it and we need to remind them of their great cultural heritage (high and folk culture). While you may not agree with everything here, I would strongly recommend this book. ... show more
Reviewed in the United States 🇺🇸 on January 25, 2011 by Caleb Land

Can't find a product?

Find it on Amazon first, then paste the link below.