Does the Devil have All the Good Music?

Which do you think combines best: (1) ‘Christianity’ (or another religion) and ‘Rock’ (or other music genres?) or, (2) ‘The Devil’ and ‘Rock (or other genres)? Why do you think so? ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Some people think that ‘Rock Music’ can be played by true practicing ‘Christians’. SEE: Cliff Richard and Larry Norman: ‘Why Should the Devil Have All The Good Music?’ READ: Lyrics Is this ‘representative of the ‘Spirit of Rock’?

Why Should The Devil Have All The Good Music?
I want the people to know that He saved my soul I still like to listen to the radio, they say "Rock 'n roll is wrong, give you one more chance"

Feel so good, I wanna get up and dance
I know what's right, I know what's wrong, I don't confuse it Well, all I'm really tryin' to say Why should the devil have all the good music? I've been filled, I feel okay, yeah Jesus is the rock and He rolled my blues away They say to cut my hair, they're drivin' me insane Grew it out long to make room for my brain But sometimes people don't understand What a good boy is doin' in a rock n' roll band There's nothin' wrong with playin', playin' blues licks If you've got a reason, I want to hear it Why should the devil have all the good music? I've been filled, I feel okay, yeah Jesus is the rock and He rolled my blues away All I wanna, I wanna, I wanna say Why should the devil have all the good music? All I wanna, I wanna, I wanna say Why should the devil have all the good music?

Why did ‘Religions’ dislike different types of music (for so long?)

Tritones: The Devil's Music?


The Devil is said to have the best tunes, but what do they sound like? A new film about the history of heavy metal highlights the so-called Devil's Interval, a musical phenomenon suppressed by the Church in the Middle Ages (5th to 15th Century) There might appear to be no link between Black Sabbath, Wagner's Gotterdammerung, West Side Story and the theme tune to the Simpsons. But all of them rely on tritones, a musical interval that spans three whole tones, like the diminished fifth or augmented fourth. This interval, the gap between two notes played in succession or simultaneously, was branded the Devil's Interval by medieval musicians. A rich mythology has grown up around it. Many believe that the Church wanted to eradicate the sounds from its music because it invoked sexual feelings, or that it was the work of the Devil. Rock producer Bob Ezrin said: "It apparently was the sound used to call up The Beast. There is something very sexual about the tritone. In the Middle Ages when people were ignorant and scared, when they heard something like that and felt that reaction in their body they thought 'uh oh, here come the Devil'." Professor John Deathridge, professor of music at King's College London, says the tritone had been consistently linked to evil. “There is a big connection between heavy rock music and Wagner. They have taken a lot from 19th Century music." LISTEN TO: Wagner: ‘Gotterdammerung’ / Black Sabbath: ‘Black Sabbath’ / West Side Story's Maria / The Simpsons theme tune / Jimi Hendrix's Purple Haze.

Religion and Distrust of Music
In addition to the medieval Christian Church dislike for ‘tritones’, members of other religions have expressed dislike for music. A recent example is the Taliban of Afghanistan. After taking power in 1996, the Islamic fundamentalists looked for and destroyed musical instruments and cassette players. When found, they were burned publically – an act followed by the public being informed of a warning by the prophet Muhammad: ''Those who listen to music and songs in this world will go to Hell.” Musicians caught playing music were beaten with their instruments and imprisoned for as many as 40 days. Other World religions have also been suspicious towards music. In the 4th century, St. Augustine confessed that music made him think of sin; in the 12th century, John of Salisbury complained that music sung in Paris Cathedral could affect his body more than his devotion to God. Also, philosophers have expressed worry about the effects of music. In Plato's ''Republic,'' Socrates advocated banning musical modes or scales, 'because “rhythm and harmony find their way to the … soul and take hold upon it”, bringing grace, if one is rightly trained, Socrates feared what music did to bur dangers if not rightly trained. out body and mind. Plato’s awe of music's power over our minds and bodies have echoed through the ages wherever governments have tried to control music to uphold the public order. Literary critic, Jonathan Dollimore, wrote that ''to take art seriously -- to recognize its potential -- must be to recognize that there might be reasonable grounds for wanting to control it.'' Where should control come from?

Rock Stars Who Make Gods and Goddesses Manifest (DIONYSUS)
The main ‘God’ who has influenced modern popular music has been Dionysus (in Roman – ‘Bacchus’). He was the God of the grape harvest, of winemaking, of poetry, Ritual Madness and Ecstasy. Originally, he was worshipped from c. 1500—1100 BC by Mycenean Greeks and in Minoan Crete. DIONYSUS has been described as a man who is a foreigner, a man who arrived in Greece from Asia, or Ethiopia, and who was a key figure in Greek Festivals. Original images of Dionysus showed an older mature male who was sometimes bearded, and often unclothed. Later images of Dionysus show him as a beardless, sensuous, naked or half-naked androgynous youth: - either womanly or "man-womanish". His wild female followers would dance and play music for him. Gradually, Dionysus came to represent those who do not belong to conventional society. He grew to symbolize everything which is chaotic, dangerous and unexpected, and all things which escape human reason. His actions were attributed to the action of the gods. He was known as Bacchus by the Romans, who used wine, music and ecstatic dance to liberate his followers from self-conscious fear and care, and who wished to destroy the oppressive restraints of the powerful. Bacchus/Dionysus gave power to those who participated in his ‘mysteries’.

(2nd Century statue of Dionysus – Greek God of Merry Making – also known as Bacchus)

Making Gods Manifest (JIM MORRISON )
JIM MORRISON: THE LIZARD KING "Though the favorites of the gods die young, they also live eternally in the company of gods." (Fredrich Nietzsche, The Birth of Tragedy) Jim Morrison was a rock star, poet, prophet, electric shaman, and god incarnate. Lead singer of the 1960’s acid rock band known as The Doors, Morrison identified himself very strongly with the Greek God, Dionysus – the God of Wine, Creation and Supporter of the Weak. The Doors had their name taken from a quote by British writer, Aldous Huxley, who – after experimenting with drugs came up with this quote (here paraphrased): "When the Doors of Perception are cleansed, we will see things as they truly are --infinite." In songs like "Break On Through" he showed his desire to break into a bigger reality. This began to control his image, which Morrison moulded in the style of Dionysus. His "Greek God" beauty, his fiery passion and his dark mysterious persona, led to people thinking of him as a manifestation of Dionysus. He tried to bring shamanism and Greek drama to rock music and to shock people out of their complacency - and into a liberating ecstasy. Morrison was a man as brilliant as he was daring. At a young age he had read extensively on shamanism and ancient mythology, including James Frazer's "The Golden Bough" (much of which is about Dionysus); he was also quite taken with Friedrich Nietzsche's passionate vision of Dionysos as portrayed in "The Birth of Tragedy."). One of the last books he read before his death was Jane Ellen Harrison's "Study of Greek Religion" which is also mostly about Dionysus. It seems that Morrison let himself be possessed by Dionysus, until

the man and the god were irrevocably merged; he carried the torch of his mythic Dionysian vision all the way to his death. Unfortunately, most people never understood that he was trying to make a God manifest. Rock critics called him pretentious for taking himself so seriously; few of them knew enough about myth and religion to put the pieces together. The Dionysian mystic slips through much of his work: "I call upon the dark hidden gods of the blood..." "Where is the wine we were promised, the new wine...?" "I am a guide to the labyrinth." During the late 1960's bands sang of love and peace while acid was passed out, but for The Doors it was about Pan and Dionysus, the gods of revelry and rebirth. Morrison’s songs invoked their passions-- the Oedipal nightmare of "The End," the breathless gallop of "Not to Touch the Earth," the ecstasy of "Light My Fire," and the alluring loss of consciousness in "Crystal Ship." Morrison and The Doors, like Dionysus, offered themselves as a sacrifice to be torn apart, to bleed, to die, to be reborn for another night. Jim Morrison was the first rock star to speak widely about the mythic implications and powers of rock 'n' roll, about the possibility of a rock concert being a ‘ritual’. He looked at music as magic and performance as worship, and believed that rhythm can set you free. He died young and chose intensity over longevity, and to be - as Nietzsche said - "one who does not negate," who does not say no, who dares to create himself. Nietzsche Saying yes to life even in its strangest and hardest problems …is Dionysian. To be oneself, eternally –

beyond all terror and pity.


You know the day destroys the night / Night divides the day Tried to run / Tried to hide : Break on through to the other side We chased our pleasures here / Dug our treasures there But can you still recall / The time we cried: Break on through to the other side Everybody loves my baby / She get… high

I found an island in your arms / Country in your eyes Arms that chain us, Eyes that lie / Break on through to the other side Made the scene / Week to week / Day to day / Hour to hour / The gate is straight Deep and wide / Break on through to the other side

People are strange when you're a stranger Faces look ugly when you're alone Women seem wicked when you're unwanted Streets are uneven when you're down When you're strange Faces come out of the rain When you're strange No one remembers your name When you're strange When you're strange When you're strange
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WHEN THE MUSIC’S OVER The end When the music's over / When the music's over / When the music's over Turn out the lights For the music is your special friend /Dance on fire as it intends Music is your only friend / Until the end Cancel my subscription to the resurrection Send my credentials to the house of detention I got some friends inside The face in the mirror won't stop The girl in the window won't drop A feast of friends, alive, she cried, waitin' for me outside
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Before I sink into the big sleep I want to hear, I want to hear the scream of the butterfly Come back, baby, back into my arms We're getting' tired of hangin' around with, waitin' around with our heads to the ground I hear a very gentle sound Very near yet very far, very soft and very clear Come today babe, come today What have they done to the earth? What have they done to our fair sister? Ravaged and plundered and ripped her and bit her Stuck her with knives in the side of the dawn And tied her with fences and dragged her down I hear a very gentle sound with your ear down to the ground …

Music is your only friend Until the end…