Generate text that refutes this claim: Hate speech  The enforcement of the laws proposed in this article will be fraught, complex and difficult. However, the difficulty of administering a law is never a good argument for refusing to enforce it.  The censorship of the written word ended in England with the Lady Chatterley and Oz obscenity trials, but this liberalisation of publication standards has not prevented the state from prosecuting hate speech when it appears in print. It is clear that, although we have more latitude than ever to say or write what we want (no matter how objectionable), standards and taboos continue to exist. We can take it that these taboos are especially important and valuable to the running of a stable society, as they have persisted despite the legal and cultural changes that have taken place over the last fifty years.  Hate speech is prosecuted and censored because of its power to intrude into the lives of individuals who have not consented to receive it. As pointed out in Jeremy Waldron’s response [1] to Timothy Garton Ash’s piece [2] on hate speech, hateful comments are not dangerous because they insight gullible individuals to abandon their inhibitions and engage in race riots. Hate speech is harmful because it recreates- cheaply and in front of a very large audience- an atmosphere in which vulnerable minorities are put in fear of becoming the targets of violence and prejudice. Additionally, hate speech harms by defaming groups, by propagating lies and half-truths about practices and beliefs, with the objective of socially isolating those groups.  Gangsta rap does all of these things, yet legal responses to the publication of songs containing such lyrics as “Rape a pregnant bitch and tell my friends I had a threesome,” have been timid at best. Even if we maintain our liberal approach to taboo breaking forms of expression, we can still link hip hop to many of the harms that hate speech produces.  Gangsta rap gives the impression that African-American and Latin-American neighbourhoods throughout the USA are violent, lawless places. Even if the pronouncements of rappers such as 50 cent and NWA are overblown or fictitious they enforce social division by vividly discouraging people from entering or interacting with poor minority communities. They damage those communities directly by creating a fear of criminality that serves to limit trust and cohesion among individual community members. Finally, violent hip hop is also defamatory. It propagates an image of minority communities that emphasises violence, poverty and nihilism, whilst loudly proclaiming its authenticity. It is completely irrelevant that these images of minority communities are produced by members of those communities.  It is on this basis, however protracted the process of classification must become, that the content of hip hop songs should be assessed and censored. Liberal democracies are prepared to go to great lengths to adjudicate on speech that could potentially promote racial or religious hatred. The same standards should be applied to hip hop music, because it is capable of producing identical harms.  [1] Waldron, J. “The harm of hate speech”. FreeSpeechDebate, 20 March 2012.  [2] Garton-Ash, T. “Living with difference”. FreeSpeechDebate, 22 January 2012.
living difference house would ban music containing lyrics glorify
It is usually the task of movie classification organisations such as the MPAA and the British Board of Film Certification to judge whether the content of a film should be cut or altered. In most cases these groups will be politically independent, but may be politically appointed. They will make the decision to cut content based partly on the criteria described above. A movie will only be censored if it contains shocking or offensive images used in a way that suggests that violence is glamorous, entertaining or without consequences.  There is a broad consensus in western liberal democracies on what constitutes a highly shocking or offensive image. For example, in even the most permissive societies, open and public images of sexual intercourse would be considered problematic. Similarly, graphic depictions of violence against vulnerable individuals would be open to wide condemnation. The thing that unifies each of these categories of image is that they can be easily understood and interpreted by the majority of people. Even a casual observer can understand that pornography is pornography. This is part of the reason why some states try to control extreme images – because they are both powerful and emotive, and easy to produce, display and distribute.  However, music and lyrics are different from images. Language contains a degree of abstraction, depth and nuance that only the most unconventional (and non-commercial) film could replicate. This is problematic, because it is much harder for censors and members of the general public to agree on an exact definition of an offensive statement or form of words. Complex legal processes are used to determine whether or not offensive statements are sufficiently offensive to be classed as hate crimes. Even more complex are the legal procedures used to determine when an individual’s reputation has been damaged by allegations published in books or periodicals.  It will be much harder for ratings or certification boards to decide when a particular song is violent or offensive due to the range of meanings and ambiguities that are built into language. For example, the verse  “Got a temper nigga, go ahead, lose your head/ turn your back on me, get clapped and lose your legs/ I walk around gun on my waist, chip on my shoulder/ ‘til I bust a clip in your face, pussy, this beef ain’t over,”  can either be seen as a series of boastful threats, delivered directly by the musician, but it could also be reported speech – a lot of hip hop music is based on narratives or performer’s accounts of past events. It could also be intended to invite condemnation of the behaviour of the character that the speaker has assumed. Hip hop artists frequently use alternative personas and “casts” of characters to add depth to the narrative dimension of their tracks.  Under these circumstances, the process of classifying and censoring potentially violent lyrics is likely to become laborious. More important than the expense that this process will entail is the possibility that the chilling effect of a prolonged classification process will cause music publishers to stop promoting hip hop, metal and other genres linked with violent imagery. Lack of funds will curtail innovation and diversity in these genres.