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sic is almost as dangerous as gun–
powder; and it may be requires
looking after no less than the
press, or the mint. 'Tis possible a
public regulation might not be
amiss."
But there are sorne important
differences between past ages and
today. For one thing, we have the
all-pervasive electronic media.
Hundreds of years ago, the only
ones hearing the bawdy song
would
b~
those in the immediate
presence of the singer while he
was singing. Children and young
people probably wouldn ' t be a
part of the audience. Even if they
did overhear the song, they
couldn't hear it again until the
singer himself repeated it. That's
why in the 18th century William
Cowper could
remark~
"A mu–
sician, the most skillful, can only
divert himself and a few others."
But that's no longer the case.
Now, thanks to recording and
broadcasting technology a song
can be repeated
ad nauseum.
Not
only that, but decadent music
from a single musician can be
heard by every child and young
person in the land . All that is
needed is access to radio or record
store. ·
In this article we are discussing
only the message of a song-its
lyrics-not the beat or volume at
which it is performed. Still, any
adults inclined to believe that it is
only the music with today's rock
rhythm that is harmful have per–
haps forgotten what songs of tbe
prerock generation or the non–
rack genre really say. For exam–
ple, how many teenagers entered
into disastrous marriages to the
encouragement of the lilting re–
frain "They try to tell us we're
too young"?
Many songs were suggestive,
but subtle enough so that only
sorne young listeners would catch
the meaning. What once was
"suggestive" has today become
explicit.
Music
is
an infh,1ential force.
It
not only can reflect moods and
feelings, it can create them. Its
ability to play ón emotions and
acbieve psychological effe.cts has
long been employed by movie–
makers.
September 1980
The spoken word by itself can,
of course, stir feelings and pas–
sions. But when words are com–
bined with music the effect can
be profound. For decades radio
and TY advertisers sold their
products to the tunes of catchy
jingles. Everything from deodor–
ants to automobiles had an appro–
priate ditty that stuck in people's
minds, influencing their purchas–
ing decisions.
Music has been used as a vehi–
cle for patriotic or political mes–
sages. Nations have been roused
to
w~r
to the words of s tirring
songs.
Religious hymns and songs
often promulgate false doctrines.
Just because music is pleasing
and inspiring does not mean the
words are necessarily true. Yet
people subconsciously accept as
fact erroneous concepts about the
Bible and Christianity merely
because of the music to which the
words are attached.
But we are mainly concerned
here with the extensive amount of
popular music that is sexually–
and unashamedly- debasing.
"Sex, of course, is a subject
often discussed in popular music.
Along with patriotism and reli–
gion, it has been a song-writing
staple for centuries. Veiled allu–
sions and double entendres were
warbled in even the most conser–
vative periods. Our ancestors.
knew what crooners meant when
they sang of lips wet with dew
an·d holding lovers closely. But
never before-at least not since
the cabaret torch songs of the
Weimar Republic- have the lyr–
ics of so many widely dissemi–
nated pop tunes been as raw"
(Human Behavior,
July,
1976) .
Who ls to Blame?
A Turkish proverb says, "As the
music is, so are the people of the
country." Who is responsible for
the large amount of degenerate
music today?
An executive of RCA Records
observed: "These singers didn't
invent sex. It's part of life. Sin–
gers are only expressing what
people are doing all aroünd us."
Dr. Rogers of the University
of Arkansas has collaborated in
a study of how popular music
refl ects prevalent attitudes.
"People will listen to the mes–
sages that contain attitudes and
beliefs they agree with ," he said
recently. He is of the view that
popular music has been "consis–
tently refiective and representa–
tive of the society which nour–
ishes it and of the changes in
that society."
Maybe so. But those in the
lucrative recording and broad–
casting industry cannot shove all
the blame off on the public. After
all, they are a part of the "pub–
líe." A vast army of promoters is
hired by the multimillion dallar
recording business. Their job is to
"sell" hits.
A successful record producer
confided , "A certain sound is
pushed, and people get used to it
and accept it- not because they
want it, but because it 's there."
ft's a cycle that feeds on itself.
A song is released.
It
appeals to
human nature and reflects the
mixed-up way of life many are
living. People buy the music and
thus create a demand for more.
And more is forthcoming because
people in the business lave one
sound in particular, the jingle of
coins and the rustle of bilis flow–
ing their way. That is music to
their
ears!
But let ' s understand more
deeply what is behind today's
wave of sensual music.
There's Music in the Air
. ..
Many chapters in the Bible, espe–
cially the Psalms, were songs
written to be sung to musical
accompaniment.
The ultimate source of
good
music is God Himself.
It
was
He who put in His creatures the
ability to produce and enjoy
music. The first song there is
any record of was joyfully sung
by millions of angelic beings
when God created the earth,
perhaps millions of years ago
(Job 38:4, 7).
Sorne of those very angelic
beings who sang in celestial cho–
rus later followed the archangel
Lucifer in rebellion against the
government of God. They became
evil spirits or demons. Lucifer
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