There’s No Comparison

The first thing that came to mind when I read Robert Hilburn’s “We’ve Heard This Tune Before” (Oct. 8) is the adage that the writer should write what he knows.

Hilburn’s theme is that the music of the ‘50s and ‘60s easily morphs into some of the ultra-violent excesses of the present-day music that is now the focus of Senate hearings. This may be based more on how he thinks popular culture was during previous eras than any real firsthand knowledge. While it’s true that lyrics of groups like the Doors, mentioned by Hilburn, pushed the limits of artistic license on violence and sex, there was no competition between music companies of that era to see who could outdo the other as far as marketing the most violent and most gross-out lyrics.

Today, there is an overall marketing strategy dreamed up by people far removed from their teen years to use vulgarity and extreme violence to sell more CDs. Whether one agreed with their philosophy or not, ‘50s and ‘60s artists like Dylan, Baez and Seeger tried to promote social harmony through their lyrics. Many of today’s artists sing about the glories of drive-by shootings, rape and violence against women. That’s why it’s really quite a stretch to say that today’s music naturally evolved out of what came before.

To claim, as Hilburn does that, despite some of the ultra-violent lyrics, redeeming social value can be found in the same artists’ albums is like trying to accentuate the positive aspects of Aryan Nation.

BOB McKAY

North Hills

*

Elvis Presley and Little Richard didn’t sing about assault or drug use. To suggest that this Eminem character is ultimately harmless is a cop-out that conscientious parents will not allow themselves.

Hilburn states that “society is a tougher place, and young people have to go to further extremes in their rebellion to declare their independence.” How do you think society has gotten to be a “tougher place” to begin with? Don’t confuse cause with effect. It’s not just a few bad apples anymore, it’s the whole barrel.

JASON MADDEN

Diamond Bar

*

I just wanted to thank Hilburn for his insight regarding the latest group of those who would damn current music as a cause for the difficulties in our culture.

I too am old enough to remember the recent past and how all of our favorite groups were, in some mysterious way, responsible for changes in the fabric of society. To them I would too say, “Folks, it’s a reflection. Not to be taken personally in large doses.” Thank God we had people like John Lennon.

I was reminded of a monologue by Sam Kinison. He said he wanted to visit Charles Manson in prison just to let him know, “CHARLIE! IT WAS ONLY A RECORD!”

ROBERT WERNER

Louisville, Ky.

*

Hilburn scolds parents to remember “how their own parents overreacted to the evils of rock ‘n’ roll.” But in fact the music is significantly different, as are adults’ objections to it.

Whereas the tone of early rock records was marked by bravado, innuendo and playful humor, much of today’s rock and rap hinges on hatred, viciousness, revenge, murder, misogyny and intolerance.

By any standard, the lyrical content of rock music from the ‘50s, ‘60s and ‘70s was not remotely as explicit as the extremes found in today’s music. The tone has shifted from celebratory to angry, suggestive to pornographic. Violence is embraced. I challenge Hilburn to identify one tune on the “Almost Famous” soundtrack that is the equivalent of any of these top-selling rock and rap tracks.

Words have power and these new tunes come with consequences. A group of youths chanted rock and rap lyrics as they sexually assaulted 53 women in Central Park in June. Young men shouted these lyrics while committing multiple rapes at last year’s Woodstock. These lyrics can encourage teens to harass gays and lesbians, and can provide a soundtrack to disaffected kids who take guns to school and open fire on classmates.

Clearly this is not a tune we’ve heard before.

BRIAN CIESLAK

Riverside