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Throughout history and across cultures, music has been part of celebratory and religious gatherings and ceremonies. Due to music's power to provide an appropriate auditory context for festive and solemn events, as well as its ability to enhance moods and to comfort, great potency is attributed to this medium. In weighing music's power, some philosophers, religious leaders, and educators have stressed that music listening not only may have positive consequences but also is also a potentially dangerous medium. For instance, Greek philosopher Plato (428–ca. 347 BC) argued that music teaching was an essential part of education but that music in the soft and sorrowful Lydian mode—one of four major modes established by the Greeks—would feminize men and was even unfit to be listened to by women. The complaint that music consumption may induce or aggravate problems has survived into the present day and was most prominently heard when popular music found a mass audience in the second quarter of the 20th century. In the 1920s, jazz music, and more specifically the Charleston dance craze, was seen as an incentive to immoral behavior, leading to all kinds of social illnesses from female smoking to premarital sex and alcohol and drug abuse. The development of modern pop music since the mid-1950s has led to claims that some artists and some genres are a real threat to youth. Pop music listening has been associated with the development of a wide array of problem behaviors ranging from devil worship, suicide, and depression to substance misuse, aggression, and delinquency. In public debates throughout the 20th century, certain critics have described some types of music as possessing the power to induce violence, drug abuse, and self-harm and to undermine sexual morals and accepted religious notions. However, although correlations have been found between music preferences and problem behavior among adolescents, the issue of causality remains problematic.

Claims about the Negative Influences of Pop Music

Young people use pop music to choose their fashion styles, to sharpen their worldview, and to define their identity. For most young people, pop music is an important medium, and many model themselves to some extent on examples provided by pop stars and their ideas. Consequently, it has been suggested that pop and rock music may have negative effects on behavior as well. For instance, in the 1950s, rock and roll's meteoric ascent led conservative white critics to conclude that racial boundaries would be blurred by this “Negro” music reaching a mass white audience. Even though its greatest star of the period, Elvis Presley, was white (and had to be, perhaps, in order to achieve his level of fame during that period), an old fear of the sensual and explicit nature of black music's rock and roll roots surfaced, and Elvis's suggestive pelvic movements were interpreted as provoking a decline in sexual morals. In his third appearance on the nationally broadcast The Ed Sullivan Show on January 6, 1957, Elvis was shown only from the waist up, so as not to offend conservative viewers.

In the 1960s, many pop musicians were the most prominent heralds of a new ideology implying fundamental changes in the ethics of work, leisure, sexuality, substance use, and religion. They were often accused of being a threat to society. To illustrate how fast the times were changing, John Lennon casually mentioned that in 1966, the name Beatles had meaning for more people on this planet than the name Jesus. This led to severe criticism by U.S. religious organizations and to the public burning of Beatles' records in some American cities. Music seemed to be at the heart of a cultural war. Pop stars and other advocates of a liberal youth culture propagating anti-bourgeois, antimaterialist and pro-drug and pro-sex attitudes battled conservative standard bearers who feared the corruption of the young and the end of civilization.

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