The case of censorship of music begs the question whether it is ever acceptable as a practice (Danezis and Anderson, 2004). From the few cases examined above and many more of such caliber, it seems that censorship is a phenomenon that is influenced by several motives, but mostly the societal norms and expectations seem to drive the act, as opposed to personal belief and standing. This is evident in cases where the media or political class have raised an uproar against a particular genre of music or certain artists known for their brutal expression of the hypocritical society in the content of their music. The questionable validity and standards of musical lyrics comes into play when certain music is banned then after some time still gets airplay on the same television or radio program.Censorship is also controversial and shoots itself in the foot when the same music in the same country gets airplay on one media station and is denied such in another. The rationale behind censorship in such instances is lost, and the whole idea becomes a sham and one that can be contended in any other forum (Samuelson, 2002, p. Reflecting on it, there is a whole lot of emotionalism, hypocrisy, and psychological interplay in the event of music censorship. Parents on one hand go up in arms against some lyrical content and for the sake of being politically correct, some radio and television stations censor the opposed music or lyrics where such had already been aired to every audience beating the sense of censorship.On a specific note, the uproar all over the world against the genre of dancehall and reggaeton music terming it as homophobic is one argument that contradicts the voices of those who are so adamant to have it off-air. Like pop, rhythm and blues, jazz, hip-hop, rock and soul music, dancehall and reggaeton are genres that represent the pride of the people’s prowess in music, as well as a culture for that matter. The notion of dirty lyrics and outright violence in what is called ‘murder music’ by calling for the killing of LGBT should not be used to demonize the music from a particular region or genre. Tastes and preferences differ among individuals and generalization or grouping of people and their music or culture is a stereotype that does not suffice to advocate for genuineness of censorship. Different countries have taken
Cloonan, M. 2004. What is music censorship? Towards a better understanding of the term. Shoot the singer: Music censorship today, pp. 3--5.
Danezis, G. and Anderson, R. 2004. The economics of censorship resistance. Proceedings of the 3rd Annual Workshop on Economics and Information Security (WEIS04) (May 2004).
Samuelson, P. 2002. Copyright, Commodification, and Censorship: Past as Prologue-But to What Future. The commodification of information. The Hague: Kluwer Law International, pp. 63--77.
Shaw, G. B. 2013. George Bernard Shaw. Forecasts of the Coming Century.
Street, J. 2012. Music and politics. Cambridge, U.K.: Polity Press.
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