Censorship And Music: Part 2 - Ongoing History of New Music

Summary

Ongoing History of New Music: "Censorship and Music: Part 2" Summary

Episode Title: Censorship And Music: Part 2
Host: Alan Cross
Release Date: July 30, 2025
Podcast Series: Ongoing History of New Music
Description: This episode delves into the intricate and often controversial topic of censorship in music, exploring various case studies, governmental actions, and the impact on artists and fans alike.

Introduction to Censorship in Music

In "Censorship and Music: Part 2," Alan Cross revisits the enduring issue of music censorship, highlighting why certain songs, bands, or music styles face suppression. Drawing from archived episodes dating back to 1999, Cross emphasizes the episode's continued relevance, promising listeners an insightful exploration into the motivations and consequences of censoring music.

Canadian Censorship: The Barenaked Ladies Incident

One of the episode's focal points is the 1992 controversy involving the Canadian band Barenaked Ladies. Alan Cross recounts how Mayor June Rowlands of Toronto intervened to ban the band from performing at a significant New Year's Eve event at Nathan Phillips Square. The mayor deemed the band's name "objectifying and offensive," showcasing a misinterpretation of the band's intent.

Notable Quote:
“The name Barenaked Ladies is not supposed to be interpreted as sexist. Ed Robertson explains. The name is just sort of naivete. It's supposed to be kids' language. It's supposed to imply children's excitement.” (02:36)

This incident illustrates how governmental bodies can act on perceived sensitivities, sometimes misjudging the artistic intent behind a band's name or message.

International Censorship: The Smiths and The Cure

Cross provides international perspectives by discussing censorship cases in the UK, focusing on The Smiths and The Cure.

The Smiths' "Suffer Little Children" Controversy

In 1984, The Smiths faced backlash for their B-side track "Suffer Little Children," which mourned the victims of child murders in the UK. A misunderstanding led to public outrage when a relative of one of the victims heard the song in a pub and perceived it as sensationalist. This reaction prompted large chain stores to ban the single and the band's debut album.

Notable Quote:
“Morrissey wrote letters to the parents and called them on the phone, apologizing for the misunderstanding. And eventually, though, things worked out.” (05:29)

The Smiths managed to mitigate the situation by directly engaging with the affected community and donating royalties to charity, underscoring the importance of communication in resolving censorship disputes.

The Cure's "Killing an Arab"

The Cure's debut single, "Killing an Arab," based on Albert Camus' novel "The Stranger," faced bans in various jurisdictions due to its provocative title, leading to public riots in some areas. Cross points out that the song actually carries an anti-racist message, highlighting how lack of context can fuel unnecessary censorship.

Notable Quote:
“If these folks had taken the time to ask or read the novel, they'd see that 'Killing an Arab' actually contains an anti-racist message.” (05:29)

This case exemplifies how artistic expressions can be misconstrued without thorough understanding, resulting in unwarranted censorship.

Censorship in Educational Institutions

The episode shifts focus to how schools in the United States navigate music censorship, often leading to significant controversies.

Zeeland High School's Strict Dress Code

In Michigan, Zeeland High School enforces a stringent dress code prohibiting clothing that references banned artists or suggests obscenity, violence, drugs, alcohol, or sexual innuendo. In 1998, the school suspended three students for wearing T-shirts from Korn and Marilyn Manson, sparking international debate.

Notable Quote:
“Wearing the name Korn is no different than a person wearing a middle finger on their shirt.” (10:12)

Interestingly, the school's policy inconsistently exempts certain bands like Limp Bizkit, raising questions about the criteria used for censorship.

Ohio's Satanic Imagery Ban

Another incident involved a school in Ohio banning T-shirts with satanic symbols, which led fans of goth and industrial bands like Nine Inch Nails and Marilyn Manson to protest the decision. The ban extended to Christian band apparel, demonstrating the often arbitrary nature of such policies.

Westerly High School's 666 Controversy

At Westerly High School in Rhode Island, a student was suspended for wearing a White Zombie T-shirt featuring the number 666, deemed offensive due to its biblical connotations.

Notable Quote:
"The assistant principal based his decision on the fact that this was a biblical reference and therefore disruptive to other students." (10:12)

These cases reveal how schools balance maintaining decorum with respecting students' artistic and personal expressions, often navigating a fine line that can lead to censorship.

Crime Prevention Resource Center's Campaign

The Fort Worth-based Crime Prevention Resource Center conducts seminars equating goth rock fans with gang members, advocating for stringent monitoring and control of these students. Their rhetoric includes unfounded claims about substance abuse and ritualistic activities among goth fans.

Notable Quote:
“He honestly believes that the majority of goth rock fans engage in regular ritual sacrifices.” (10:12)

Such initiatives underscore the societal fears and misunderstandings that can drive educational institutions to censor music and suppress certain subcultures.

XTC's "Dear God" Backlash

In 1987, XTC's song "Dear God" faced severe backlash for its perceived blasphemy, leading to radio stations dropping the track after bomb threats and a high school hostage situation demanding its play. This incident significantly hindered the song's commercial success.

Notable Quote:
"Dear God, sorry to disturb you, but I feel that I should be loud and clear." (15:12)

The extreme reactions to this song highlight the volatile intersection of religion, free speech, and music censorship.

Governmental Actions and Legislative Censorship

Alan Cross expands the discussion to governmental efforts to regulate music, both historically and in contemporary settings.

Early 20th Century Radio Censorship

Cross traces the roots of music censorship back to the 1920s when radio emerged as a new medium. Campaigns aimed to ban jazz on Sundays and restrict rhythm and blues music by black artists, reflecting entrenched racial and cultural biases.

Modern Legislative Efforts

Contrasting past and present, Cross explains how contemporary conservative groups, especially in the Southern United States, continue to pressure lawmakers to control music content through legislation rather than overt protest actions.

Louisiana's Lyrics Regulation Bill

Louisiana proposed a bill prohibiting the sale and distribution of music deemed "harmful to minors," imposing hefty fines on retailers for non-compliance.

Notable Quote:
"Selling a Marilyn Manson CD to an unmarried 17-year-old could cost the store $2,000." (15:17)

Divestiture Laws

Cross describes "divestiture laws" as a sophisticated method of censorship, where state funds are prohibited from investing in companies owning or distributing objectionable music. For instance, a teacher's pension fund might be forced to sell Seagram stock, indirectly pressuring major labels like Universal Music affiliated with controversial artists.

Notable Quote:
"A divestiture law might force that teacher's pension fund to dump all its Seagram stock in retaliation for Universal's continued support of Marilyn Manson." (17:00)

These legislative strategies demonstrate the multifaceted approaches governments use to influence and censor music without direct bans.

Conclusion and Reflection

Alan Cross concludes the episode by reflecting on the persistent challenges to free speech in the music industry. Despite advancements since the early 20th century, modern censorship efforts continue to evolve, employing both overt and covert methods to suppress content deemed offensive or harmful.

Final Notable Quote:
"A reminder that there are hundreds of ongoing history shows available on demand as podcasts. They're all free. Download them wherever you get your podcasts." (17:00)

Cross invites listeners to explore more episodes, emphasizing the ongoing nature of these censorship battles and encouraging deeper engagement with the topic.

Key Takeaways

Misinterpretation and Context: Many censorship cases stem from misunderstandings of a song's intent or context, leading to undue suppression of artistic expression.
Inconsistent Policies: Schools and institutions often apply censorship inconsistently, reflecting underlying biases rather than objective standards.
Legislative Censorship: Governments employ complex laws and financial pressures to regulate music, showcasing the interplay between politics and culture.
Historical Continuity: Censorship in music is not a new phenomenon; historical patterns reveal persistent societal efforts to control artistic content.
Impact on Artists and Fans: Censorship affects not only the creators but also fans, stifling cultural movements and diverse expressions within the music scene.

Further Listening

Listeners interested in exploring more about music censorship can tune into Alan Cross's related podcast, "Crime and Mayhem in the Music Industry," which delves deeper into true crime aspects within the music world.

For more updates, news, and discussions on music history, visit ajournalofmusicalthings.com and subscribe to the free newsletter.

This summary captures the essence of "Censorship and Music: Part 2," highlighting key discussions and providing a comprehensive overview for those who haven't listened to the episode.

Transcript

Alan Cross (0:00)

Hey, it's Alan and I just wanted to let you know that you can now listen to the ongoing history of new music. Early and ad free on Amazon Music included with prime.

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Alan Cross (1:09)

Here is another trip into the ongoing history of New Music vault. With over 1000 original radio episodes and several hundred of them being repurposed as podcasts, there are still some episodes that haven't seen the light of day. For this one, it's the second of a two part look at censorship in music. Why do certain songs or bands or styles of music get censored? Who makes these decisions? Why? And what can musicians and music fans do about it? Even though this show is from the earlier part of the ongoing history library, I think this is from 1999. It's still very relevant. We thought you'd like to have a listen. This is Censorship in Music Part two.

Narrator (1:48)

Good evening. The following is a continuation of our documentary on the subject of censorship in music. Sorry we didn't get all this in last time. It's just that this is such a big topic, we just plumb ran out of time. This portion of the program will feature controversies surrounding T shirts, public musical performances, and schools, and you will hear how various levels of government have actively pursued the censorship of music. Some of what you're about to hear will shock and frighten you and may increase your sense of paranoia. Alternatively, others may find the following information oddly comforting. And here's the disclaimer. Sensitive people should get the out of the room just in case. Are they gone? Okay, let a rip.

Alan Cross (2:36)

This is the ongoing history of New Music podcast with Alan Cross. Hello again, I'm Alan Cross, and this is part two of A Look at the Issue of Censorship in Music. This is a pretty touchy subject and it's getting touchier and weirder all the time. We actually have it pretty good in Canada. Most levels of government don't meddle with our music most times. And when they do, chances are that they start from a misinformed position. One of the dumbest examples happened here in Toronto on New Year's Eve 1992. The Barenaked Ladies had been booked to play a big party at Nathan Phillips Square in front of City Hall. However, Mayor June Rowlands had had other ideas. Her politically correct advisors brought this concert to her attention, and just to be safe, she ordered the city to ban the ladies from the square. Why? Well, because the name Barenaked Ladies was bad and evil because it objectified women and therefore was extremely offensive. You can probably imagine the howls of outrage and laughter. If I had a million dollars, I'd. For the record. The name Barenaked Ladies is not supposed to be interpreted as sexist. Ed Robertson explains. The name is just sort of naivete. It's supposed to be kids language. It's supposed to imply children's excitement. Okay, so there. Let's go through a few more cases of misinterpreted intentions. The Cure ran into trouble with their very first single. It was a short song called Killing an Arab. Robert Smith based the song on a novel called the Stranger by Albert Camus. He had run across the novel while in school, and he was really impressed by the novel's existentialist philosophies. The problem started because of the title. The Cure were young and naive and didn't think of the dangers of releasing a song with such a provocative title. Now, at first glance, it's easy to assume that there might be some racist overtones to the song, and a lot of people who had never read the Camus novel jump to conclusions. As a result, Killing an Arab has been occasionally banned in certain jurisdictions and subject to intense official scrutiny in others. People actually started a riot over the song at a KIR show in February 1979. But if these folks had taken the time to ask or read the novel, they'd see that Killing an Arab actually contains an anti racist message. Now, here's the kicker. Accure originally recorded that single for a label they absolutely hated. In order to get out of that contract, they had to sign away most of the future royalties from that song. So in other words, they had to endure all this controversy and hassle generated by this song while making almost zero money from it.