Musically Expressed
Following the September 11th terrorist attacks, Clear Channel Communications – which owns and operates over 1200 radio stations nationwide – released a list of 150 “lyrically questionable” songs that it was requesting stations remove from their play lists (Nuzum). There was no set standard as to what made these songs questionable, in fact a number of them were ludicrous. Some of these songs were: “Highway to Hell” and “Shoot to Thrill” by AC/DC, “Jet Airliner” by Steve Miller Band, “Fly” by Sugar Ray, “Another One Bites the dust” by Queen, all songs by Rage Against the Machine, and, to beat all else, “Walk Like an Egyptian” by The Bangles (Nuzum). Clear Channel’s Mission Statement reads:
“We believe we have an obligation for the well-being of the communities In which we live. We further believe the future success of our communities and the industries where we do business is dependent upon the responsibility we feel, the high standards we set and the positive impact our actions have”
Clear Channel’s high standards include restricting and censoring profane language, sexually implicit language and since the September 11 attacks, they have made a conscious effort to restrict the angry, hate filled language that can be present in lyrics of songs.
Throughout the history of music censors – like Clear Channel – have targeted controversial lyrics as a problem, but there have been efforts to blame the actual music for causing societal problems. Whether it be Johann Sebastian Bach’s complex masterpieces or heavy metal’s distorted guitars; Antonin Dvorak to Eminem, censorship attacks have been a constant. In this century, jazz, bebop, swing, rock n’ roll, rap, and heavy metal have all had severe censorship on radio airwaves. Such attacks have usually been made by adults, mainly parents, who are ready to blame juvenile delinquency on a musical form that appeals to young people and which “few of its detractors comprehend” (Epstein 1990). Parents and political leaders spend so much time and money debating all of this feigned indecency and immorality when they could be doing some good. Why not help the poor or feed the hungry, instead of trying to change music, trying to change people’s thoughts and feelings. Why not focus on themselves? Maybe they would realize that they play a more important part in their children’s lives than music does.
In the 1950’s Elvis’ pelvic gyration would not be televised but it is now an accepted entertaining performance move. Today we are offended by explicit sex or violence or language. Robert L. Gross pointed out:
…this controversy is a replay of the age old generation gap, in a new and, perhaps, more striking form. Iron Maiden may strike today’s adults as alien to their culture, but the author suspects that a similar reaction occurred when adults first heard the lyrics to “Good Golly, Miss Molly” (Gross 1990).
At one time these attacks were even racially motivated. In the 1950s, petitions were circulated which said, “Don’t allow your children to buy Negro records.” The petitions referred to the “raw unbridled passion” of screaming people with dark skin who were going to drive children wild (Zappa 1988).
None of these claims have been popularly accepted, due to the difficulty in providing tangible proof. Instances of Satanism have been attributed to drug abuse rather than music (Epstein 1990). In 1955 trying to associate rock music with juvenile delinquency were unsuccessful, as were the 1973 “Buckley report” on rock music and drug abuse and the 1985 senate hearings on obscenity in popular music (Epstein 1990). The 1970 Commission on Obscenity and Pornography (C.O.P.) report said that “it is obviously not possible, and never could be possible, to state that never on any occasion, under any conditions, did any erotic material ever contribute in any way to the likelihood of any individual committing a sex crime. Indeed, no such statement could be made about any kind of nonerotic material” (Oboler 1974). An extensive study would have to be done to prove a form of music is capable of causing harm. The researchers would have to be trained not only in research methods but in the music involved.
Lyrics on the other hand, are a more concrete form of expression. Lyrics embody the sentiment the writer is trying to convey with less free interpretation and more definitive meaning than in music alone. In 1986, the Meese Commission on Pornography “recommended that spoken words not be challenged for obscenity” (Holland 1989), and the C.O.P. report recommended, “the repeal of existing federal legislation which prohibits or interferes with consensual distribution of ‘obscene’ materials to adults” (Oboler 1974), but challenges on music lyrics continue.
The headline of an article in TIME magazine reads: “A Senate committee asks: ‘Have lyrics gone too far?’” Tipper Gore recites lyrics from a song by W.A.S.P. While many of their songs do contain cuss words, it is still not okay to censor it. The lyrics that Gore was reciting were: “Flesh and fire, fire, I want you come on give it to me burn me with your love flesh and fire, fire, I want you come on, hurt me honey I want what it does.” Not many people have heard of the band W.A.S.P., but their lyrics tend to be more PG13. Gore and some other women in Washington have come together to create the P.M.R.C. (Parents Music Resource Center) and with the national Parent Teacher Association, they are letting everyone know that lyrics have gone too far (Cocks). It is not only W.A.S.P. who stand accused. Judas Priest, Madonna, Twisted Sister, AC/DC, and Sheena Easton are also under speculation.
My dad was in a band when I was little. My sisters and I were always listening to Metallica, AC/DC, or Lynard Skynard. I turned out okay. I have my own mind; I know what’s right and what’s wrong. I wasn’t morally corrupted because of the music I listened to. I absolutely believe it is wrong to pile all of this scrutiny on artists who create these masterpieces we call songs.
The world is a messed up place. We fight to stay alive, we strive to find the courage to make it through every day, and we pray that someday, things might get a little easier. We all have our own outlets. For some of us it is music, for others it may be reading or writing. The release is what gets us through the day; our one sip of pleasure in a teacup full of torment. It is being fought against. It is made to seem like it’s something it’s not. We write because it is the one thing we can call our own, that no one can take away from us. It is our soul through a set of amps, excited by the pluck of a string, the beat of a drum. It is the fire that burns within us.