Editing Christian music industry (section)

===Other arguments===
Some critics describe the Christian music industry as being committed "to the goals and strategies of the commercial marketplace – industrial growth, increased market share, and greater profits."<ref name="RPCinA">{{Harvnb|Forbes|Mahan|2000|loc="Evangelicals and Popular Music: The Contemporary Christian Music Industry" pp. 105–109}}</ref> This became more apparent in the 1980s and 1990s as the largest Christian record labels became subsidiaries of the "mainstream" labels (who are themselves owned by huge [[media conglomerate]]s like [[Viacom (2005–present)|Viacom]] and [[Time Warner]]).<ref name="AoR1999">{{Harvnb|Howard|Streck|1999|p=9}}</ref><ref name="Hendershot2002"/> Others see the industry as taking on the roles traditionally reserved for the church. Concerts are the equivalent of religious services, and commodities symbols of faith.<ref name="RPCinA_art">{{Harvnb|Forbes|Mahan|2000|loc="Evangelicals and Popular Music: The Art World of Contemporary Christian Music" pp. 109–115}}</ref> Under these conditions "[[evangelism]] becomes rhetoric—justifying the propaganda value of the industry's work – not spiritual reality."<ref name="RPCinA_art"/> One critic comments that "perhaps the 'ghettoization' and parallel institutionalism of CCM manifests itself nowhere more apparently than at numerous [[Christian rock festival]]s."<ref name="JMIA">{{Harvnb|Nichols|2008|loc=Chapter 5: "Jesus on Vinyl" pp. 122 – 146}}</ref>