Jesus music primarily began in population centers of the United States where the Jesus movement was gaining momentum—Southern California, San Francisco, Seattle, and Chicago—around 1969–70. Large numbers of hippies and street musicians began converting to born-againChristianity. A number of these conversions, especially in southern California, was due largely to the outreach of Lonnie Frisbee and Pastor Chuck Smith of Calvary Chapel in Costa Mesa. In the aftermath of such conversions, these musicians continued playing the same styles of music that they had been playing prior to their conversion, though they now infused their lyrics with a Christian message. Of the many bands and artists that came out of this time-period, some became leaders within the Jesus movement. Most notably among them Larry Norman, Barry McGuire, Love Song, Second Chapter of Acts, Randy Stonehill, Randy Matthews, and during the mid-1970s, Keith Green. Much of the music was a blend of folk music and folk rock , soft rock, R&B, soul music/jazz fusion, country rock, and hard rock. Initially, the music tended to be relatively simple, as it drew largely on guitar-based folk and folk-rock influences. The message also seemed to be relatively simple, as the songwriters attempted to present the value of a Christ-centered spiritual experience without evoking the vocabulary or other trappings of ecclesiastical religion. Rather than quoting religious cliches or King James Bible verses, they used storytelling, allegory, imagery, and complex metaphors, often with a colloquial language that flustered conservatives. In addition to the basic message of salvation, the lyrics often reflected the expectation of the imminent Second Coming of Christ prominent in evangelical circles at the time, reflected and heightened by the publication of The Late, Great Planet Earth. Larry Norman voiced this in his song "I Wish We'd All Been Ready," singing "There's no time to change your mind/The Son has come and you've been left behind." Despite the message, the music was described by many as worldly at best or as "the Devil's music" in the worst case. This latter position was held by conservatives such as Bill Gothard as taught in his Basic Youth Conflicts Seminars. These were some of the main factors that caused many U.S. churches to largely reject the movement and these artists at the time. This suited many artists as they wanted to bring Jesus to non-Christians, not only to church youth. Larry Norman addressed this culture clash in his 1972 song, "Why Should The Devil Have All the Good Music?" On the West Coast of the United States, Jesus music festivals began to emerge in the summer months of the early 1970s, featuring many of the artists listed above. While the music was often loud and the venue similar to the Monterey Pop Festival and Woodstock, the atmosphere was decidedly different and attracted large crowds of camping families as well as teenagers and young adults. By 1973, Jesus music was receiving enough attention inside the mainstream media that an industry began to emerge. By the mid-1970s, the phrase "contemporary Christian music" had been coined by Ron Moore and the first edition of CCM Magazine was published in July 1977. CCM now was a combination of traditional gospel music, Southern gospel music, Jesus music artists, and in some cases a style of big-band music with Christian lyrics. By 1976, it was apparent that a new generation of performers who had grown up in the church wanted to play non-secular pop and rock music for other Christians. By the end of the 1970s the term "Jesus music" fell out of use as the movement was replaced by the industry.
