"By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion." The line that begins Psalm 137 is one of the most lyrical of the Hebrew Bible, and has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. The psalm is most directly a product of the Babylonian exile-the roughly fifty-year period after Jerusalem was destroyed by Nebuchadnezzar's army and many of its leading Judeans taken northeast into captivity. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since that period. In Babylon Revisited David Stowe addresses this gap using a wide-ranging, interdisciplinary approach that includes textual analysis, historical overview, and a study of the psalm's place in popular culture. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians Rivers of Babylon to the score in Kazakh film Tulpan. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious text. The book is broken up into three parts that closely examine each of the psalm's stanzas. Stowe concludes by exploring the often ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide or ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Exploring the presence and absence of these words in modern culture is the culmination of Stowe's study as he weaves together the fascinating story of how Psalm 137 has both shaped and been shaped by our understanding of violence, pain, oppression, and justice.

Musical expression is at the heart of the American spiritual experience. And nowhere can you gauge the depth of spiritual belief and practice more than through the music that fills America's houses of worship. Most amazing is how sacred music has been shaped by the exchanges of diverse peoples over time. "How Sweet the Sound" traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.

Pursuing the intimate relationship between music and spirituality in America, Stowe focuses on the central creative moments in the unfolding life of sacred song. He fills his pages with the religious music of Indians, Shakers, Mormons, Moravians, African-Americans, Jews, Buddhists, and others. Juxtaposing music cultures across region, ethnicity, and time, he suggests the range and cross-fertilization of religious beliefs and musical practices that have formed the spiritual customs of the United States, producing a multireligious, multicultural brew.

Stowe traces the evolution of sacred music from hymns to hip-hop, finding Christian psalms deeply accented by the traditions of Judaism, and Native American and Buddhist customs influenced by Protestant Christianity. He shows how the creativity and malleability of sacred music can explain the proliferation of various forms of faith and the high rates of participation they've sustained. Its evolution truly parallels the evolution of American pluralism.

In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity through the development of Christian pop music. The chart-topping, spiritually inflected music created a space in popular culture for talk of Jesus, God, and Christianity, thus lessening for baby boomers and their children the stigma associated with religion while helping to fill churches and create new modes of worship. Stowe shows how evangelicals' increasing acceptance of Christian pop music ultimately has reinforced a variety of conservative cultural, economic, theological, and political messages.

Bands were playing, people were dancing, the music business was booming. It was the big-band era, and swing was giving a new shape and sound to American culture. Swing Changes looks at New Deal America through its music and shows us how the contradictions and tensions within swing-over race, politics, its own cultural status, the role of women-mirrored those played out in the larger society. Drawing on memoirs, oral histories, newspapers, magazines, recordings, photographs, literature, and films, Swing Changes offers a vibrant picture of American society at a pivotal time, and a new perspective on music as a cultural force.