Music has affected the lives of youth Into their adulthood’s from their conception. The popular genres of today’s music test their audience’s Innocence and willingness to buy into the lyrics, which are written to explain of a daily life that has digressed into drug use, sexual behavior, violence, and racial slurs. “We Are Young”, Fun’s current number one single on the Billboard Charts, dollies the essence of being young in a bright ballad.

The chorus “We Are Young/ So let’s set the world on fire” encompasses the stereotypical conceptions of Youth’s reckless behavior (Fun). Aided by the bright IANA in the background, and the background chorus, which evokes a sense of community, the song includes “friends in the bathroom getting higher than the Empire State”, and begs that “between the drinks and subtle things” that a lover forgets the singer “gave It to [helm/her] months ago” (Fun). Youth are thus provoked into participating in such behavior, oblivious to the consequences the lyrics might entail.

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Rap, a division of Hip-Hop culture, is more popularly accredited with negative lyrical Influences, as It promotes the N-Word, drug use, violence, and Is particularly degrading towards women (That). Rock Music, polarize from Rap’s culture, asserts many of the same values onto its young listeners, as it cherishes “sex, drugs, and Rock and Roll”. Heavy Metal, a division of Rock culture, promotes antisocial behavior, as many of Its values include suicide and rape (Adonis).

The youth exposed to such lyrical content have been documented to be more violent, careless, and Irresponsible, The advertisement agencies that sell these lyrics are to blame for much of lyrical influence; however, the record labels who transmit these lyrics onto radio stations and produce artist’s content, must prevent the negative influences of lyrics upon first view. Record labels must monitor and censor Hip-Hop, Heavy Metal, and popular music lyrics broadcasted to teenagers In order to reduce overwhelming Influences of drug use, promiscuity, violence, racial slurs, and suicide.

The incredible nature of music’s influences embody each of its elements, as its melodies and harmonies possess Immense effects even as they refrain from words that might seep into the subconscious and prompt anta-social behavior. In order to secure the success of their children’s future lives, pregnant mothers play Mozart in hopes that their babies might become as civilized and sophisticated as the piece (Box Juveniles).

These babies often do grow up to excel beyond their peers who may have devolved Into becoming violent and reckless, as their mothers listened to Rap music during pregnancy (Visioning); thus, the true impact of a song’s lyrics is extremely significant. Rap music, the spoken division of the Hip-Hop Culture, which promotes rebellion in the name of a collective love for art and the loathing of poor city-life, preaches of the dally harsh lives of those In the ghetto.

Rap music uses crude lyrics in order to mirror the crude quality of rappers’ lives ; however, often forgetting of the perversity of its young listeners, Rap promotes the use of slurs in effort to explain inner city or underprivileged life (That). Rappers, often inner city African-American men, refer to their counterparts as the N word, and their enemies as ‘f*got’ and ‘dues’. Rappers Identify the N-Word as a name of belonging that secures them Into their black culture; however, rappers warn people of other races, particularly caused attention to the word, prompting other Pop Culture moguls into accepting the Nor into their vocabulary.

DC Chalked, who identifies himself as a “Sand N-Word” used the word significantly in his single We The Best. Fat Joe, a Latino, defends his use of the word because “everywhere, Latino and blacks are the same” (Westwood. (out listening to these artists are thus desensitizing to the word, as adult idols embrace it as well. Jennifer Lopez, a Latin from the Bronx, used the N-Word in her hit I’m Real (Westwood. Her use of the word created much discussion and unrest Nothing the music community, however it also modeled the prodigious influence the N- Nor has begun to take within the United States.

Homophobic lyrics are extremely prevalent, revealing the sentiments of the artists “ho sing them as they reshape those of the listeners. Homophobic lyrics, often used as insults and words of caution, appear in each genre of popular music, appearing in the words of rapper Common to those of country music star Brad Paisley (Frederic’s). Kathy Perry, a rising Pop Star who aspires to epitomize individuality, sings Our So Gay, a song in which she criticizes her boyfriend for “acting gay’.

Perry’s lyrics change the Identification of one’s sexuality into a synonym for stupid acknowledging that her boyfriend is “so gay [he doesn’t] even like boys” (Frederic’s). The song proves to be offensive to the boyfriend, but only because of the negative digression of the gay sexuality, which has become a synonym for stupid or cowardly (Wintertime). Homosexual youth are thus bombarded with these influences, becoming not only hated for their sexual orientation; but because of the negative connotations that ‘gay Implies (Wintertime).

Mine, a rapper notoriously known for his seemingly homophobic behavior, has not ceased to accommodate to anti-gay lyrics. Admitting to his faults but covering for his words, Mine says his homophobia manifests from a separate personality he embodies while he raps (Frederic’s). Regardless, Amine’s lyrics are extremely hostile and condescending to LEGIT youth, expressing in an appropriately named Criminal “Whether you’re a f*g or a l*z, Or the Homes, Herman, or trans-vest, pants of the dress- hate f*g’s?

The answer is yes”. Amine’s lyrics pose a threat to youth, as he uses his popularity to advertise the antagonistic and dangerous values people have against homosexuals. In a recent study, “83% [teachers] said they heard [gay] being used regularly [as an insult] and much more than its nearest rivals, b*tech (59%) and SSL*g (45%)” (Wintertime). Amine’s influences, as well as artists of popular, reggae, and country music accredit to the unintended users many homosexual youths experience as they deal with their peers.

Women, viewed as a token of wealth by much of the music industry, are ill treated Nothing the lyrics of popular artists, provoking violent aggression in their listeners. Learnable, women are disrespected and disregarded past sexual needs. Much of Hip- Hop and Rock culture has devolved into that of sexism, as such popular songs such as Smack That by Akin and Hoes and Ladies by T-Wayne “portray messages that Omen should be treated as personal belongings and/or are only needed for a man’s sexual satisfaction” (Box Governs).

Smack that, a song chronicling Axon’s feelings for a stripped at the club, identifies her as a “club banger” as she “climbs up and down that pole/ Looking like one of them putty-cat dolls” (Akin). T-Wane’s Hoes and Ladies contains explicit curses and desires towards women, revealing to naive youth the as T-Pain’s Hoes and Ladies encompasses the popular conceptions that women are only sex objects, meant to display their bodies for male admiration. In recent studies, the effects of Rap and Rock music have proven to be detrimental to the male view and appreciation of the women (Treason).

Rap music proves to evoke violent and aggressive sexual thoughts in men, as well as a stimulant of sexual frustration Treason). Speaking poorly of women in their lyrics, Rap and rock music promote the cursing and degrading of women, ultimately resulting in lessened male conceptions of women counterparts . While listening to rap and rock music, men are provoked to be more physically violent with women (Treason). In a study conducted by Elian European, men were found to use inappropriate gestures, and think much more of rape and the abuse of women.

Heavy Metal, much guided by Marilyn Manson, is now for its compliance to anti-social values. Manson argues in The Reflecting God ‘Who said rape isn’t kind? ” (Liquidity). Depressed Youth, who often listen to heavy metal, are less likely to care about the values, and are thus prone to participating in such anti-social behavior. Regardless of the genre, the negative influences of the treatment of women in lyrics are dire and dangerous to the outcome of today’s Youth. Apart from its influences with women, music lyrics promote aggression and ‘lenience in youth.

Attributed with much of the blame for violence in youth, Rap music sakes people more aggressive and devious in their intentions; however, Rock music proves to have an equal case for violence as its careless nature preaches of rebellion. Rap music poses for the generation of lost youth, who find their idols in the musicians they listen to and attempt to mirror their ways ; thus, listeners easily find themselves immersed into the lyrics, wanting to do what the artists profess (That). In an experiment, twenty students who all disliked hot sauce were asked to listen to rap music.

Half listened to music without violent content, and half did; however, all of the dents were asked how much hot sauce they would give to a peer (That). Those No listened to violent music reported that they would give four times more hot sauce than those who listened otherwise (That). The results of the experiment attest to the dangers of rap lyrics, which can lead to car fights, robberies, and other antisocial acts. The rise in violent statistics is directly proportional to the rise in fame of popular rap musicians (Bookmarks).

The measure by which the violent influences of Rap is observed is statistics; however, much of Rocks influences can be identified in cautious events. A A 1987 concert in SST. Louis of Guns and Roses, the classic Rock Band, resulted in a riot between 2500 youths the music excited and 60 injured Orthodox Photos). A likely result of Jamming, which is the an unconscious phenomenon of the brain in which listeners “lose conscious control of their minds and succumb themselves to the pessimistic images conveyed” (Caching).

The most alarming of these documented effects is the suicide of Thomas Sullivan, who, before his death, killed his mother and set his house on fire (Orthodox Photos). Thomas Saliva’s story is the ultimate extent to which music to which music can affect a Sistine; however,it encompasses the overbearing influence music’s lyrics . Suicide is most prevalent in Heavy Metal music if any other genre, often speaking of self-hate and the detriments of bullying. Marilyn Manson, one of the more popular Heavy Metal artists, is thought to have aided Columbine, as his death lyrics to his classmates, injure 24, and kill themselves (Catching).

Heavy Metal Music proves to be extremely popular to depressed youth, as it speaks of revenge, murder, and death Nothing its lyrics. Only seven percent of Heavy Metal lyrics include suicidal references; forever, 50 percent speak of murder, and 35 percent of Satanism (Orthodox Photos). Oozy Osborne advocates suicide in Suicide Solution and Suicide’s an Alternative. Osborne sings of the fathomed greatness of death, relating to youth that “no one cares… Suicide’s an alternative” (Orthodox Photos, Suicide’s an Alternative).

The depression, angst, and anti-social values the youth idealize, emerge from what they listen to, and the values Heavy Metal reveres. Many other youth are encouraged to depreciate their lives in the form of drugs. Thirty Percent of songs on the Billboard Top Charts contain influences of drugs, evolving music into an influence itself (Parker-pope). Rock and Roll ensures its glorified lifestyle in its motto “Sex, Drugs, and Rock and Roll”. In much the same way, Rap music advertises drugs in speaking of the harsh reality of ghetto life.

Fans of Rock, mirroring those of Rap, dress much like those whom they idealize, and strive to do that that the idol does. Drugs and alcohol, therefore, are an indisputable element of Rock and Roll lyrics, and that of the fans lives of rock fans (Caching). Fourteen percent, however, of rock songs contain lyrical content of drug use, contrasting the eighty percent of rap songs (Reuters). Rap music is notorious for its drug influences; although it means to inform its audiences of an oppressed and ignored culture, much of its audience is prompted to try and learn of the drugs it speaks of.

Many rappers are endorsers of alcohol as well such as Daddy and Cirri (That). The culture of Rap and Rock music is much the same, and because of its influences, casual drug use in teens has “Jumped nearly fifty percent over the last four years alone” (Liquidity). Within these lyrical drug influences, 14% of songs include Marijuana use, 24% include alcohol, and 12% of songs depicted other substances parker-pope). The direct use of drugs in relation to the influences of drug use in music lyrics depicts the devastating influences lyrics have on youth.

Sexual influences prove to be as overwhelming as those of drugs. Revealing to [Out to the true consequences of their impressionable ignorance, teen pregnancies have become the results of music lyrics. Rap, Rock, and Popular music all speak of sex, as the limits to which modern lyrics extend to make their lyrics raunchy has exceeded extreme levels. Prince, the ass sex symbol, is no longer evocative, as “the lyrics of today, which include, ‘Tip Drill’ by Newly which is full of raunchy, demeaning years” (Bookmarks).

Teen pregnancies are directly relatable to the music in modern teen culture. Lyrics found in music exuded to youth trigger impulses, encouraging {Out to be much more violent and assertive in their desires (Treason). In a study, seven hundred 15 year olds listened to sex related lyrics; two thirds listened to lyrics degrading sex, and one third listened to sexually explicit lyrics; however, after listening, almost all reported thoughts about sex (That).

Teens listening to sexually degrading lyrics are twice as likely to start having sex than those who don’t, crediting o the 51 percent of heavy listeners who have sex within two years, in relation of only 29 percent of youth who say they do not listen to any sexual music (Associated Press). Rhea statistics of youth pregnancies in relation to the music they listen to exemplifies The desensitizing of youth as a result of the influences in lyrics would not be so immense if Record labels had taken action from first glance of the lyrics.

The record labels determine the conception of the influence. Record labels hire the producers, studio artists, session artists, and advertisers. The creation of a single is meticulous ND crucial to the amount of money to be gained; however, if each of the record labels agreed to refrain from including negative influences in lyrics, they wouldn’t lose any business, and teenagers would have to relearn how to appropriately take care of themselves. Record Labels must monitor the amount of references of drug use in order to ensure the future health and intelligence of the future generations.

Record Labels must also refrain from the amount of references to promiscuity in order to protect the futures of potential professional college educated men and Omen. In order to ensure that youth becomes of age in order stray from participate in drug and promiscuous behavior, record labels must revoke the influences of idiolect. The revoking of racial slurs from lyrical vocabulary would ensure a safe environment in which youth could live. Record Labels must revoke racial slurs in order to ultimately guarantee safe lives.