Dr Paul Allen

As a subject, Christianity is everywhere in pop music today. Whether in Kendrick Lamar’s new album, Eminem’s rapping about Jesus, Gang of Youth’s expletive-heavy faith reflections, or the growing number of LGBT+ folk singers who grew up in the church and now critique it through music (e.g., Julien Baker, Semler’s Preacher’s Kid, or Ethel Cain’s Preacher’s Daughter), the world’s largest religion is an unsurprisingly frequent inspiration in musical art. But the music that engages or references Christianity isn’t “Christian music,” just as movies that include Christian themes (though welcome!) aren’t “Christian movies.” And while it’s unhelpful to draw fixed borders around a definition of what Christian music is or can be, some categorical boundaries are helpful. Those boundaries have a lot to do with worshipful intent: Is the music coming from an earnest desire to glorify Christ and an authentic, unapologetic love for God’s Word? Even if it’s not in the “worship genre” (whatever that is)

Image via Wikipedia "Only let your conversation be as it becometh the gospel of Christ : that whether I come and see you, or else be absent, I may hear of your affairs, that ye stand fast in one spirit, with one mind striving together for the faith of the gospel." ( Philippians 1:27 )   The Greek word translated "conversation" emphasizes "citizenship," with all of its attendant loyalties and expectations for appropriate behavior.  The structure of the introductory word "only" indicates that it is an adjective, not an adverb. Thus, the opening phrase could be rendered, "Your only citizenship must be lived out so that it becomes the gospel."   The New Testament employs three different Greek terms that are translated "conversation."  Anastrepho  is best understood as "dwelling" or "remaining" in a certain place: "Put off concerning the former conversation," we are commanded in  Ephesians 4:22 .