Issue of Illegal Drugs in Music Lyrics

Issue of Illegal Drugs in euphony LyricsJulia DuggerMusic is and always has been an integral part of beau monde. It is, tally to Glowacka Pitet, 2004, one of the longest storeyed traditions of humankind that enables the exchange of feelings and experiences that great deal non be articulated by the use of public language. Moreover, its strength is based on the fact that it preempt provide us with essence, without saying anything at all (Hormigos-Ruiz, 2010). Daily life does non live on without medicine and since ein truth age group within a society is exposed to it, it comes to no surprise that distributively age group appraise its importance differently. For example, studies conducted by various researchers (e.g. Arnett, 1996 northmost Hargreaves, 2008 Schwartz Fouts, 2003) uncovered that American adolescents did non honorable listen to medicinal do drugs approximately two and a half(a) hours per day, or else than also how they vigorously employ unison to satisfy social, unrestrained and educational requirements. However, according to Walker Kennedy (2010), the impact of popular medical specialty has sparked umteen debates. Particularly over the past decade, numerous news stories give up claimed that rings corresponding Marilyn Manson or Slipknot have nixly influenced the shooters at Columbine (US)/Erfurt (Germany) or that suicidal connotations in arguing/ alloy music has led to an increase in adolescence taking/trying to take their lives (Walker Kennedy, 2010).It therefore comes to no surprise that North and Hargreaves (2006) have argued that music genres standardized sound surface/ terrible disceptation, informed hop/ rap, and alternative/punk should be kink outd as line music. But labeling particular genres as problem music and denoting that adolescent auditory modality to it argon automatically negatively influenced, seems standardized generalization of a very complex issue. According to Walker Kennedy (2010), much r esearch has been conducted on wherefore adolescents listen to music and in short two main reasons can be noted to explore identity issues including self-identity and peer relationships as well(p) as regulation of emotional impulses. And although various themes of different music genres heavy metal lyrics often deal with hostility or vengeance and may contain sex, drug use, suicide, and alienation summons (Arnett, 1996) rap lyrics are full of offensive language combined with subjects akin sex, drug use, misogyny, violence (Epstein, Pratto, Skipper, 1990) pop music lyrics deal with a multitude of themes and typically reach a larger audience and country music often tells a story that any deals with love sadness rebellious behavior, promiscuity, or betrayal (Ballard, Bazzini, Dodson, 1999) can, according to Ter Bogt (2012), come along listeners to interpreted these themes, peculiarly the negative ones, as cool, socially acceptable, satisfying, and not specially destructiv e, it should be recognized that lyrics are merely one aspect of a crys overall message.Unfortunately many studies limit themselves by unaccompanied looking at one characteristics of a specific telephone call, alternatively than also addressing that others, like the sound of the music or the associated broader cultural factors, can have obvious and powerful effects on how one interprets its meaning (Ter Bogt et al., 2012). For example, listeners preferring a particular genre often do not just listen to the music itself, rather than also have an understanding for the nature of those genres and show familiarity regarding the lifestyles of musicians within them. As Ter Bogt et al. (2012) noted, given that an individuals development is shaped by the observation of others, relevant behaviors portrayed by high gear-status plurality such as excite stars, may encourage adolescents to mimic it. However, imputable to the fact that numerous musicians have had encounters with the law ov er their drug/ inebriantic drink use and many even have died because of it, claiming that specific music genres only glamorize or encourage drug us/abuse seems like a biased representation. How true this is can be seen when taking a closer look at the history of music lyrics, particular those of shake/hard rock/metal/heavy metal bands. According to hold over (2004), rock breeds of the 80s were party anthems with a positive attitude towards the motto sex, drugs, and rock n roll. However, during the 90s rock music lyrics became more critical. Exaggeratedly spoken, most of the music sounded whinny/moaning and the lyrics contained messages round how bad everything was (Dodge, 2004). Today, according to Dodge (2004), the dark elements unruffled exist, but a new wave of album oriented/ mellisonant rock and heavy metal bands has emerged.On the other hand, heavy metal emerged during the late 60s, yet, according to Hjelm, Kahn-Harris, and LeVine (2012), did not establish itself as a s ignalise genre until the late 70s/early 80s when bands like Judas Priest and Iron foremost set forth basic metal characteristics (distorted guitars, aggressive vocals, dark clothing, etc.) that are present to this day. Throughout the following decades (90s until today), metal has followed increasingly diverse tuneful pathways and has created numerous influential bands. And although the central concept for producing rock/hard rock/metal/heavy metal songs remains the same, a shift of song themes and in which kind of way they are communicated to the listener can be seen. According to Dodge (2009), drug reference in rock/metal songs have always been numerous and recurrent. However, according to Markert (2001), this does not mean that such songs praise or encourage the exploitation of drugs. Most drug representations, particularly those of more recent rock/metal tracks, are rather negative and these songs often do not instruct, lecture or admonish the listener, according to Dodge (200 9), rather than they inform more or less possible departs, rely on personal responsibility, and leave it up to the individual to take a shit their own decisions. Moreover, since songs about drug use/abuse are again and again associated with a particular time frame and/or social group, they do not just reflect the principles of that group rather than also operate as a socializing instrument by suggesting how listeners should interpret their social milieu (Markert, 2001).The truthfulness of this view can be seen when either rock/hard rock/metal/heavy metal songs of different decades are compared with each or when the lyrics/themes of the more recent ones are compared with other genres. Many themes of the cured rock/metal songs (l960s 1990s), with all sub- and hybrid genres considered, concentrated on the impost and the effects of drugs, while notions of caution or resulting negative consequences were rarely mentioned. For example, during the 60s songs like Heroin by The Velvet Underground (1967) or Mothers itty-bitty friend by The Rolling Stones (1966), told the listener how drugs alter emotional states and claimed that the end result with an overall positive notion was to either be able to not fright about anything anymore guinea pig it makes me feel like Im a man/when I put a spike into my veinCause when the smack begins to flow/And I sincerely dont care anymore/Ah, when that heroin is in my blood/And that blood is in my head/Then convey graven image that Im as good as dead/And thank your God that Im not aware/And thank God that I just dont care or manage everydays tasks Mother needs approximatelything today to calm her down/And though shes not really ill/Theres a little yellow pill/She goes running for the shelter of a mothers little helper/And it helps her on her way, gets her with her busy day.In the 70s, a standardized trend could be seen, where songs about drugs yet again mainly describe the addictive properties of drugs or even glorify them. In his song For Your look Led Zeppelin (1976), for example, illustrates how a drug user surrenders to his/her addiction You give tongue to I was the only/Exhibition is your habit, Emotion second hand/Had to pull away to save me, Maybe next time around/And she said, dont you involve it?/Dont you want coca-coca- cocain?/Hadnt planned to, could not stand to try it and in their song Snowblind the Band Black Sabbath goes even further in glorifying the use of cocaine Feeling happy in my vein/Icicles within my brain (cocaine)/Makes me happy, makes me shabbyDont you think I know what Im doing/Dont tell me that its doing me wrong/Youre the one whos really a loser/This is where I feel I belong. In the 80s, however, some bands began to questionIn the past decade, most singer/songwriters in the rock/hard rock/metal/heavy metal genre have shifted their attention to not just on expressing how bad the usage of catastrophic/illegal sum of moneys is, rather than also their negative conse quences. For example, in their song Adios, the band Rammstein (2009) did not just describe how a person injects a summation in their veins (He lays the needle in the vein, asks the music to come at heart) and how this person feels while the substance travels through his entire body (a battle rages in his blood, an army marches through his bowel), rather than also address their often fatal attributes by closing the song with the words He takes the needle from the vein, the melody travels out of the throw together, violins burn with shrieking, harps dilute the flesh, he has opened his eyes, but he did not wake up.A similar, yet less obvious approach to remind the listener about the highly destructive attributes of illegal substances, has been taken by the band Slipknot, who in their 2014 released song Killpop describe how a women injects something into her skin (she is sticking needles in her skin)recently the song Habits (Stay High) has topped the charts, where the singer Tove Lo (2012) argues that dealing with emotional smart can only be achieved via a continuing high to not be missing a lost love ( Spend my eld locked in a haze, trying to forget you babeGot to stay high all my life, to forget Im missing you). Other examples include We cant stop by Miley Cyrus (2013), where she sings we like to party, dancing with Molly (which is a reference to the drug MDMA), doing whatever we want Rehab by Amy Winehouse (2007), in which she states that they tried to make me go to rehab but I said no, no, no, yes, Ive been black but when I come back youll know, know, know,, hes tried to make me go to rehab but I wont go, go, go or Diamonds by Rihanna (2012), where she clearly downplays the destructive properties of alcohol (moonshine) and drugs (molly, which is a street name for MDMA and enthusiasm) when she sings well never die youre a shooting star I see, a vision of ecstasy Palms rise to the universe, as we moonshine and molly, feel the warmth, well never die, we re like diamonds in the sky.ReferencesDodge, A. I. (2004). Sex, drugs, and rock roll A Libertarian view Pamphlet. London, United earth Libertarian Alliance.Hormigos-Ruiz, J. (2010). 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