Generate text that refutes this claim: Violent imagery can serve different purposes.  Calls for a ban on music that references or glorifies violence are frequently based on an overly simplistic understanding of contemporary and popular musical genres. It is instructive that the loudest voices of protest raised against violent content in hip hop and rock music are, overwhelmingly, white, middle class, middle-aged newspaper columnists. Any ban created under these circumstances would reduce the diversity and depth of popular musical genres, by preventing musicians from commenting- in any way- on violent events.  Banning particular musical tracks due only to the fact that they discuss violent acts would be damaging to the creative industries and would not reflect methods currently used to classify and restrict content appearing in other media. Criminal acts are punished when an act results in a damaging outcome and because that act is performed with a particular dishonest or malicious intention. Generally, someone cannot be found guilty of murder if they did not intend to kill their victim. Similarly, it is unusual for films or videogames to be censored or banned because they happen to depict violent acts. The intention that underlies the use of graphic images or words must also be examined. As BBC director general Mark Thompson noted when discussing the controversial religious content of Jerry Springer: The Opera with freespeechdebate.com  “… Jerry Springer I saw without feeling that it was offensive to me because the intention of the piece was so clearly a satire about an American talk show host and his world rather than the religious figures as such.”  Classification boards will look at the context in which an offensive act is shown. The violence of war is portrayed vividly in Saving Private Ryan, but the film has not been banned on this basis. Private Ryan portrays violence and suffering in order to remind us of the inhumanity that pervaded the Second World War. It uses violence to make a didactic point, to move its audience to sympathy and disgust. If a film were to use images of extreme violence or suffering as a form of entertainment, inviting the audience to take pleasure in brutality, a classification board would try to restrict or censor its content.  Comparably, “violent” music can use brutal language and themes to make moving and engaging observations about the world. Violent music does not automatically glorify violence, nor does it cause its audience to see violence as something that is glamorous.  Listened to out of context, without any attempt to critically analyse the imagery of the song and the intentions of the artists, it is easy to condemn many acclaimed examples of popular music as containing violent lyrics. By giving into the populist pressure that is represented and generated by newspaper columnists and talk show hosts, we risk creating a chilling effect, not only on mainstream hip hop culture, but on any other musical form that dares to discuss themes that fall outside narrowly and arbitrarily defined limits of social acceptability.
living difference house would ban music containing lyrics glorify
Hip hop is a diverse genre. The quote that opened this discussion is taken from a song by the English surrealist rapper Scroobius Pip. His albums cover themes entirely different from those found in “gangsta” rap. Similarly, artists such as MIA, Optimus Rhyme and the Wilcania Mob have used hip hop to discuss the conflict in Sri Lanka, computer games and life as a member of the aboriginal community in Australia. Each of these artists share a single common link. They all cater to a relatively niche market and have encountered little in the way of mainstream success.  Rappers who write lyrics about cynicism and aggression- from Slim Shady to JayZ- have recorded numerous number one tracks and attracted a wide range of industry accolades. In 2006 the founder of Death Row records, a major gangsta rap label, was found to have assets valued at $7 million. It is clear that rap discussing crime and violence is the dominant genre within hip hop. It is clear that there is a significant popular and public appetite for rap of this type.  As the comment opposite notes, there will always be a need for classification boards, as gratuitous or pornographic content will always form a significant part of the media landscape. Moreover, despite efforts to control access to such content, pornography and wilfully violent movies continue to make money. Hip hop appeals to a similar market – individuals seeking to indulge violent fantasies via the safe, sanitised environment of their iPod’s headphones, as discussed above.  There are no nuances of context and meaning to discuss in gangsta rap, only potentially damaging content that, at best, should be regulated and monitored.