214 Primary Source: Statements from The Parents Music Resource Center (1985)
In 1985, the Senate held hearings on explicit music. The Parents Music Resource Center (1985), founded by the wives of prominent politicians in Washington D.C., publicly denounced lyrics, album covers, and music videos dealing with sex, violence, and drug use. The PRMC pressured music publishers and retailers and singled out artists such as Judas Priest, Prince, AC/DC, Madonna, and Black Sabbath, and Cyndi Lauper. The following is extracted from statements by Susan Baker, the wife of then-Treasury Secretary James Baker, and Tipper Gore, wife of Senator and later Vice President Al Gore, in support of warning labels on music packaging.
Mrs. BAKER. The Parents Music Resource Center was organized in May of this year by mothers of young children who are very concerned by the growing trend in music toward lyrics that are sexually explicit, excessively violent, or glorify the use of drugs and alcohol.
Our primary purpose is to educate and inform parents about this alarming trend as well as to ask the industry to exercise self-restraint.
It is no secret that today’s rock music is a very important part of adolescence and teenagers’ lives. It always has been, and we don’t question their right to have their own music. We think that is important. They use it to identify and give expression to their feelings, their problems, their joys, sorrows, loves, and values. It wakes them up in the morning and it is in the background as they get dressed for school. It is played on the bus. It is listened to in the cafeteria during lunch. It is played as they do their homework. They even watch it on MTV now. It is danced to at parties, and puts them to sleep at night.
Because anything that we are exposed to that much has some influence on us, we believe that the music industry has a special responsibility as the message of songs goes from the suggestive to the blatantly explicit.
… While a few outrageous recordings have always existed in the past, the proliferation of songs glorifying rape, sadomasochism, incest, the occult, and suicide by a growing number of bands illustrates this escalating trend that is alarming.
Some have suggested that the records in question are only a minute element in this music. However, these records are not few, and have sold millions of copies, like Prince’s “Darling Nikki,” about masturbation, sold over 10 million copies. Judas Priest, the one about forced oral sex at gunpoint, has sold over 2 million copies. Quiet Riot, “Metal Health,” has songs about explicit sex, over 5 million copies. Motley Crue, “Shout at the Devil,” which contains violence and brutality to women, over 2 million copies.
Some say there is no cause for concern. We believe there is. Teen pregnancies and teenage suicide rates are at epidemic proportions today. The Noedecker Report states that in the United States of America we have the highest teen pregnancy rate of any developed country: 96 out of 1,000 teenage girls become pregnant.
Rape is up 7 percent in the latest statistics, and the suicide rates of youth between 16 and 24 has gone up 300 percent in the last three decades while the adult level has remained the same.
There certainly are many causes for these ills in our society, but it is our contention that the pervasive messages aimed at children which promote and glorify suicide, rape, sadomasochism, and so on, have to be numbered among the contributing factors.
Some rock artists actually seem to encourage teen suicide. Ozzie [sic] Osbourne sings “Suicide Solution.” Blue Oyster Cult sings “Don’t Fear the Reaper.” AC/DC sings “Shoot to Thrill.” Just last week in Centerpoint, a small Texas town, a young man took his life while listening to the music of AC/DC. He was not the first.
…
Mrs. GORE. We are asking the recording industry to voluntarily assist parents who are concerned by placing a warning label on music products inappropriate for younger children due to explicit sexual or violent lyrics.
The Parents Music Resource Center originally proposed a categorical rating system for explicit material. After many discussions with the record industry, we recognize some of the logistical and economic problems, and have adjusted our original suggestions accordingly. We now propose one generic warning label to inform consumers in the marketplace about lyric content. The labels would apply to all music.
We have asked the record companies to voluntarily label their own products and assume responsibility for making those judgments. We ask the record industry to appoint a one-time panel to recommend a uniform set of criteria which could serve as a policy guide for the individual companies. Those individual recording companies would then in good faith agree to adhere to this standard, and make decisions internally about which records should be labeled according to the industry criteria.
…
The issue here is larger than violent and sexually explicit lyrics. It is one of ideas and ideal freedoms and responsibility in our society. Clearly, there is a tension here, and in a free society there always will be. We are simply asking that these corporate and artistic rights be exercised with responsibility, with sensitivity, and some measure of self-restraint, especially since young minds are at stake. We are talking about preteenagers and young teenagers having access to this material. That is our point of departure and our concern.
[Source: Hearing Before the Senate Committee on Commerce, Science, and Transportation, Contents of Music and the Lyrics of Records, 99th Congress, First Session, September 19, 1985, 10-14.]