Wanted for Attitude: The Right-Wing Attack on Rock
October 10, 1989
HOW’S THIS FOR GOVERNMENT intimidation? In early August, a letter arrived on the desk of Priority Records president Brian Turner. Written on Department of Justice stationery, it was just three paragraphs long:
A song recorded by the rap group N.W.A. on their album entitled “Straight Outta Compton” encourages violence against and disrespect for the law enforcement officer and has been brought to my attention. I understand your company recorded and distributed this album, and I am writing to share my thoughts and concerns with you.
Advocating violence and assault is wrong, and we in the law enforcement community take exception to such action. Violent crime, a major problem in our country, reached an unprecedented high in 1988. Seventy-eight law enforcement officers were feloniously slain in the line of duty during 1988, four more than in 1987. Law enforcement officers dedicate their lives to the protection of our citizens, and recordings such as the one from N.W.A. are both discouraging and degrading to these brave, dedicated officers.
Music plays a significant role in society, and I wanted you to be aware of the FBI’s position relative to this song and its message. I believe my views reflect the opinion of the entire law enforcement community.
THE LETTER WAS SIGNED by Milt Ahlerich, an FBI assistant director, who describes himself as the bureau’s chief spokesman and who says he reports directly to Director William Sessions. Ahlerich says his letter represents the FBI’s “official position” on the record by N.W.A. (Niggers With Attitude), hip-hop’s most streetwise and politically complex group. But he also says he hasn’t heard the song. Neither he nor the bureau owns a copy. Ahlerich didn’t ask N.W.A. or Priority for the oft-unintelligible lyrics; he got them — or something purporting to be them — from unnamed “concerned officers.” Ahlerich says the FBI has never adopted an official position on a record, book, film, or other artwork in the four years he’s worked there nor, so far as be knows, in its entire history.
Ahlerich claims writing the letter was justified because N.W.A.’s song, “**** Tha Police,” allegedly advocates violence against the police, (The group sings “Fuck the police,” but the album just uses blanks.) “I read those lyrics and those lyrics spoke of violence and murder of police officers. That to me did not seem to be in the public domain at all,” he said, strenuously objecting to implications that the letter was censorious or intimidating,
Ahlerich isn’t the only cop incensed by “**** Tha Police.” An informal police network faxes messages to police stations nationwide, urging cops to help cancel concerts by N.W.A., a group based in Compton, California. Since late spring, their shows have been jeopardized or aborted in Detroit (where the group was briefly detained by cops), Washington, D.C., Chattanooga, Milwaukee, and Tyler, Texas. N.W.A. played Cincinnati only after Bengal linebacker and City Councilman Reggie Williams and several of his teammates spoke up for them. During the summer’s tour, N.W.A. prudently chose not to perform “**** Tha Police” (its best song), and just singing a few lines of it at Detroit’s Joe Louis Arena caused the Motor City police to rush the stage. While the cops scuffled with the security staff, N.W.A. escaped to their hotel. Dozens of policemen were waiting for them there, and they detained the group for 15 minutes, “We just wanted to show the kids,” an officer told The Hollywood Reporter, “that you can’t say ‘fuck the police’ in Detroit … ”
In Toledo, N.W.A. performed only after Reverend Floyd E. Rose complained publicly about police pressuring local black clergymen, “Rightly or wrongly, the perception in our community is that the ‘police think they have the authority to kill a minority,’ ” he wrote the police chief, quoting the song, “and that [police] think that every black teenager who is wearing a gold bracelet and driving a nice car is ‘selling narcotics.’ … I must say that while I do not like the music and abhor the vulgar language, I will not be used to stifle legitimate anger and understandable resentment.”
Anger and resentment are at the center of N.W.A.’s Straight Outta Compton, a two-million seller that slices current r&b fashion to ribbons, then goes on to pretty up the latest in gang-culture bad-mouthing. It rocks harder than any other album released this year; if the abusive, profane language didn’t keep N.W.A. off the radio, the sheer assaultive sound probably would, N.W.A. is, above (or below) anything else, not nice. But the profanity exists not for shock effect or as a bohemian art stance, but as an organic expression of south-central L.A.’s half-hidden gang world. The group wouldn’t be half so politically important, or half so exciting, if they were just rap’s answer to Andrew “Dice” Clay. Much if not most of what the group has to say — especially about women, but also about drugs, guns, and the sanctity of private property — will make any civilized soul squirm. They don’t just épater les bourgeois, they rub its face into its own merde. This is music to make the blood run cold, and if only a dimwit would salute its values, only a fool would completely disrespect them.
As Reverend Rose and most everyone who has heard the song realizes, “**** Tha Police” isn’t about shooting cops. It’s about being bullied and tormented by them. A hip-hop barrage, the song tells of a young black man who loses his temper over brutal police sweeps based on appearance, not actions, like the ones frequently performed by the LAPD. In the end, the young man threatens to “smoke” the next flatfoot who fucks with him. The same point is made even more clearly in the “Straight Outta Compton” video, which presents docudrama footage of a gang sweep in which the L.A. police violently round up street kids (played by N.W.A.) just for wearing dookie ropes and beepers. Finally, the kids retaliate — or to put it another way, defend themselves. (Ahlerich isn’t so eager to mention that 339 Americans were gunned down by peace officers last year in “justifiable homicides.” Or as Brooklyn rapper KRS-One puts it, “Who Protects Us From You?”) N.W.A.’s Ice Cube calls his songs “revenge fantasies.”
ADVOCACY? “The song does not constitute advocacy of violence as that has been interpreted by the courts,” says Barry Lynn of the American Civil Liberties Union. “It doesn’t come close.” As for saying “fuck the police,” attorney Charles Rembar, an obscenity expert, remarks, “It’s far more clearly protected than burning the flag.”
To Lynn, what is legally questionable is Ahlerich’s letter. He cites several court decisions that hold that government communications can have an unconstitutional chilling effect “even if they don’t threaten direct action.” And Ahlerich says that his letter was not personal but an official FBI policy statement, albeit adopted “on my authority” without consulting his superior, Sessions.
Lynn says, “It would not violate the First Amendment for an individual working for the FBI to personally write such a letter. But it’s incredible for the FBI to send this kind of official letter to any person in the creative community.”
“Oh, I didn’t know they were buying our records, too!” Ice Cube told his publicist when she first told him of the Ahlerich letter. “People overreact,” he told us. “Getting a letter from the FBI seemed kind of funny to me.” Does he feel threatened by what might come next? “No. Money conquers all. There’s a lot of people that’s making a lot of money off N.W.A. as far as record companies, distributors, and concert promoters.” But by the end of the conversation, he was saying, slightly more seriously, “Maybe they’ll send the CIA after me, arrest me for treason.”
INTERESTING AS IT is that Milt Ahlerich chose to have the FBI take an official position on a record nobody in the bureau has bothered to buy, it’s even more interesting that he can’t explain how word of that record’s existence reached him. Pressed he said only that he received a copy of the purported lyrics from “responsible fellow officers.” He wouldn’t, or couldn’t, name them.
Police officials in Toledo and Kansas City say officers in Cincinnati faxed them the information about N.W.A. and “**** Tha Police,” according to Gregory Sandow the Herald Examiner rock critic who tracked the informal anti-N.W.A. cop network. Cops began receiving the anti-N.W.A. warnings in late spring, about the same time an article about the group appeared in the June issue of Reverend James C. Dobson’s Focus on the Family Citizen under the headline “Rap Group N.W.A. Says ‘Kill Police.’ ” Its readers are urged: “Alert local police to the dangers they may face in the wake of this record release.”
The article was written by Bob DeMoss, Focus on the Family’s “youth culture specialist.” DeMoss formerly headed Pennsylvania-based Teen Vision, which produced Rising to the Challenge, the Parents’ Music Resource Center’s video. This video was recently withdrawn from circulation and re-edited after revelations that it ended with a phony endorsement attributed to Bruce Springsteen. The PMRC contends that they were not aware when the video was made that the Springsteen quote was false.
The Dobson/DeMoss/PMRC connection is instructive and important because, while the Washington wives like to boast of their respectable affiliates (the PTA, the American Academy of Pediatrics, and the political board members), they don’t like to admit their role in stirring up the Christian right. In fact, the PMRC’s official position is that it has no relationship with any group except the PTA and the pediatricians. It does everything it can to deny other ties.
Since October 1985, when the PMRC coerced the Senate Commerce Committee, composed largely of PMRC’s directors’ husbands, into holding antirock hearings, rock has been attacked from city halls, statehouses, fundamentalist pulpits, and the executive echelons of the FBI. The PMRC has become a key link connecting right-wing Christian groups like Reverend Dobson’s with such theoretically respectable entities as the PTA, the pediatricians, and PMRC advisory board members like Atlanta mayor Andrew Young.
Tipper Gore has been every rocker’s favorite basher, but the most powerful of the PMRC’s founders is Susan Baker, whose husband, the secretary of State, is now four heart attacks away from the White House. Susan Baker, who incarnates the stiff-necked, antisexual Born Again, sits on the Focus on the Family board of directors. (Several members of the board come from the investment and banking business that James Baker, as secretary of the Treasury, “regulated.” Secretary and Mrs. Baker refused to comment on their ties to Dobson and his organization.)
Although the PMRC’s ties to the Christian right are numerous, the most crucial of them is Focus on the Family and Dobson. The ACLU’s Lynn says that with the breakup of Jerry Falwell’s Moral Majority, Focus on the Family makes Dobson “the most powerful fundamentalist in the country.” Perhaps the flakiest of all the Meese Pornography commissioners, Dobson came to prominence as Ted Bundy’s final confessor, claiming that the mass murderer/con man’s crimes were the result of addiction to pornography. Dobson campaigns stridently against abortion, and his Citizen magazine is a forum for activists like abortion-center terrorist Randall Terry and Nixon administration felon Charles Colson. His plan for American education calls for getting evolution out of the classroom and putting prayer back in. Susan Baker, as a director of this 500-employee, $57-million-a-year organization, presumably shares those goals. We know that Dobson shares her views on rock ‘n’ roll, because Citizen’s July 1988 issue ran an article on her complaint that record labels were dragging their feet on warning label compliance.
The rest of the PMRC’s ties with Dobson aren’t so casual, either. In the June 1989 issue of Citizen, which contains DeMoss’s anti-N.W.A. article, PMRC executive director Jennifer Norwood says. “We want music critics and organizations like Focus on the Family to disseminate this information to their constituencies. This is something that needs to be done.” Norwood insists that this call to Christians to crusade against rock is the same as dispensing “consumer information” to moms and dads at the PTA.
If Dobson is the most important of the PMRC’s Christian cronies, he’s far from the most dubious. None of the groups listed below is an official PMRC affiliate. But all of them use the quasigovernmental clout and the credibility of the PMRC to legitimize their endeavors, and the PMRC shares many of their goals. Whether it also shares money, no one knows. The PMRC refuses to reveal the sources of its funding.
• The Back in Control Center, the Fullerton, California, “de-metaling/de-punking” center, is endorsed by Tipper Gore in her book, Raising PG Kids in an X-Rated Society. Its de-metaling handbook lists a variety of satanic/occult symbols, including the “six-pointed star representing the Jewish Star of David.” Director Greg Bodenhamer, a former probation officer, accused the rock group Kiss of using the Jewish star to worship the devil; on more than one occasion, Bodenhamer has flashed a picture of Kiss members wearing such stars as “proof.”
Back in Control also produced Punk Rock & Heavy Metal: The Problem/One Solution, a 20-page training manual used by several California police departments. Printed over the name Sergeant M. Shelton, of the Union City PD’s now-defunct Youth Services Board, the manual likens rock ‘n’ roll to Adolf Hitler’s National Socialist Party and makes sure to point out that music can be used as a very effective medium of rebellion against the government. Besides the usual heavy metal targets, it also attacks “Huskerdo,” Rush, and Van Halen, and rock magazines like Circus, Hit Parader, and Creem. (Through the press office of her husband, Senator Albert Gore, Mrs. Gore said that Bodenhamer’s misrepresentation of the Jewish star was a “mistake.”)
• Truth About Rock, the St. Paul, Minnesota, ministry of Dan and Steve Peters, pastors of Zion Church. The Peters brothers and their antirock writings have been repeatedly touted in PMRC literature. The brothers specialize in record album burnings; they also condemn Tina Turner, among others, for non-Christian beliefs. (She’s a Buddhist.) The Peters also claim, “The Jewish star is the universal symbol for Satan.” (Jennifer Norwood says the Peters brothers book Why Knock Rock? — recommended by the PMRC — doesn’t endorse record burnings. However, the book has a photo of the brothers at an LP bonfire.)
• Missouri Project Rock, which was founded by Shirley Marvin, a lobbyist for Phyllis Schlafly’s Eagle Forum. Marvin cites an Eagle Forum meeting with Tipper Gore as her inspiration, and an MPR brochure claims that it works in cooperation with the PMRC. A Memphis rock-monitoring group called the Community Aware of Music and Entertainment Coalition, praised in Gore’s Raising PG Kids, is also listed as an ally in MPR literature. (Norwood denies any PMRC ties with MPR and says she asked Marvin to delete its claim of one in the brochure.) MPR’s “musical director,” Reverend Shane Westhoelter, calls Catholics “cannibals, because they eat wafers which are the body of Christ.” Project Rock’s literature says that Bruce Springsteen has a satanic backwards message in “Dancing in the Dark,” and their information kit includes tapes from Victory Christian Church in St. Charles, Missouri, asserting that Hollywood promotes race-mixing, that the Holocaust never happened, and that Hitler didn’t write Mein Kampf. The tapes also refer to “Martin Lucifer King.”
• The American Family Association, best known for Reverend Donald Wildmon’s campaigns against Madonna’s Pepsi commercial, The Last Temptation of Christ, and Mighty Mouse’s sniffing of flower petals. Wildmon’s anti-Semitism finally led to disavowals by such erstwhile supporters as Archbishop John L. May of St. Louis, and the leaders of the Church of the Lutheran Brethren and the Mennonite Church.
Wildmon’s National Federation for Decency magazine reprinted 14 pages of Raising PG Kids with permission, according to the book’s publisher. Mrs. Gore, through Norwood and her husband’s office, claimed that she never learned of the reprint until we asked about it.
On September 14, Gore’s office said the Gores “have never and would never cooperate with any effort in any way connected to anti-Semitism … Mrs. Gore had no knowledge whatsoever and did not authorize in any way the excerpting of her book in the magazine of the National Federation for Decency. She does not know and has never met Donald Wildmon.” Does this constitute a repudiation of Wildmon? Gore press officer Narla Romash said, “Yes.” Asked for a comment, a Wildmon official hung up.
AS EVEN THE NEW YORK TIMES recognizes, bigotry is rock’s fastest-growing problem. Jennifer Norwood told us the PMRC has taken a firm stand on this topic, corresponding with the Anti-Defamation League and the NAACP. Tipper Gore made similar claims on Entertainment Tonight September 22. Norwood says that the PMRC has been vociferous in its condemnation of Guns N’ Roses’ racist, homophobic “One in a Million,” though only after the song became nationally notorious did the PMRC attack it (for instance, on the ET broadcast). The PMRC didn’t mention the tune in its summer 1989 newsletter, a peculiar omission in that GNR’s “I Used to Love Her” from the same album was included in a list of objectionable “Top 40 Lyrics.” That song was placed under the heading Murder. The only other headings are Violence, Sadomasochistic and Sexually Explicit.
Meanwhile, the record industry silently but effectively participates in the repression. Contacted about the FBI letter threatening N.W.A., neither the Recording Industry Association of America, the record lobbying group that numbers N.W.A.’s Priority label among its members, nor the National Association of Record Merchandisers, the lobbying group for record sellers, had any comment. Nor did Russ Bach, president of CEMA, the Capitol/EMI-owned company that distributes Priority. Billboard, the industry’s leading trade publication, has rarely taken an editorial stand against censorship. On the odd occasion when it has published anticensorship guest editorials, it has immediately followed up with articles by the PMRC spreading the same old half-truths.
At the National Record Mart chain’s July convention, a not-so-silent Russ Bach said that he has recommended to the labels CEMA distributes — which include not only Priority, but Southern California Civil Liberties Union chief Danny Goldberg’s Gold Castle and Frank Zappa’s Barking Pumpkin — that they should more carefully scrutinize and sticker their albums. “It’s obvious that there is a wave of conservatism in this country,” Bach said. “If anything, we should err toward the conservative.”
With a few exceptions (Zappa, Don Henley), rock stars have been equally silent. Most prefer to treat censorship as an issue that affects only the music’s vulgar fringe: rap and heavy metal. Many still believe that the notoriety of a stickered album is good for business.
The PMRC would like to wipe the smirk from their faces. Its recent quarterly newsletters carry Red Channels-style lists of “Releases Without Consumer Information” (that is, warning labels) and “Releases With Consumer Information.” Norwood says this is legitimate consumer information; she was unable to specify either where her group draws the line in deciding which unlabelled albums to report, or why it does not report on records that don’t need labels. The PMRC doesn’t just provide consumers with neutral information. On September 22 Norwood told radio station KSD-FM in St. Louis that the PMRC “endorses” the Rolling Stones tour.
Aside from proving that even pleading guilty-by-implication with a sticker won’t keep the censors off you, this particular package of “consumer information” has other revealing implications. On the most recent “Releases With Consumer Information” report, every stickered act is black — including N.W.A., Prince (honored for Batman), and L.L. Cool J. According to Norwood, this indicates that rappers are among the most compliant rockers; in reality, it tells you who the record industry most easily pushes around.
Harsher days are coming, even for art-rockers, college radio favorites, and mainstream stars. On the “Without Consumer Information” chart are a number of rap and metal records, but also Siouxsie and the Banshees’ Peepshow and XTC’s Oranges and Lemons. The spring edition of the PMRC blacklist includes Iggy Pop’s Blah Blah Blah, the Rolling Stones’ Dirty Work, the Cure’s Standing on a Beach, the The’s Infected, Big Audio Dynamite’s No. 10 Upping Street, Simply Red’s Men and Women, and the Beverly Hills Cop II soundtrack.
Although the PMRC has failed to get the record companies to comply with its deepest stickering desires, it has had far less trouble with retailers, who are much more vulnerable to picketing and boycotts. The 130-store Hastings chain now is refusing to sell certain rap and heavy metal records to minors; Camelot Music told Billboard that it would pull records from stores rather than be picketed. The PMRC says it doesn’t want government legislation against rock, and no wonder — look how effectively the marketplace does the job. But as the FBI has shown, legislation isn’t the only way for the the government to become involved.
The record industry is testing the civil liberties idea that, for every inch the censors are given, they’ll demand a kilometer. The major labels and distributors’ November 1985 concession to the PMRC, which created the warning labels, is an implicit guilty plea that gave Susan Baker and Tipper Gore the credentials to write a Newsweek column conflating the tabloid connection between rap and the Central Park rape and the need to control what our children hear. (You can be sure that they won’t be contributing a piece on the connections between bel canto and Bensonhurst.)
Not everyone is so cowardly. In Rapid City, South Dakota, the local PMRC affiliate tried to get city officials to block a June 16 Metallica/Cult show. Opposed by citizens connected with Music in Action, the music industry’s anticensorship group (the authors of this piece are members), they lost. The concert produced the most integrated white/Indian audience ever seen in the Black Hills. In Kansas City, where N.W.A. played after the city’s acting mayor, Emanuel Cleaver, tried to stop the show (saying “Take your trash back to L.A.”), Ice Cube concluded the performance by saying, “We just showed your City Council that blacks, whites, Mexicans, and Orientals can get together for a concert without killing each other.”
Nevertheless, rock world opposition to the censors remains small and unfocused. The $6.2 billion record industry has no defense budget at all. The record business has nothing to say about the FBI’s abuse of artistic liberty — maybe because it protects its investment with the FBI’s Special Task Force against record piracy. Libeled by bullies, liars, reactionaries, and bigger weirdos than rock ever knew in its psychedelic heyday, corporate rock ‘n’ roll can’t even find the strength to whimper. ■
COPS ‘N’ ROCKERS
Police pressure forced the cancellation of a June 17, 1987, Run-D.M.C./Beastie Boys show at the Seattle Center Coliseum, beginning a new cycle of such abuses that trace back to the heyday of Alan Freed. Last May, Ouachita County, Arkansas, sheriff Jack Dews seized rap and heavy metal tapes from a Wal-Mart and from the Heart of the Blues record store in Camden, claiming the music was obscene under state law and couldn’t legally be sold to anyone under 17. In August, the 203,000-member Fraternal Order of Police declared a boycott of any musical group that advocates assaults on police officers, a significant stand since off-duty cops staff most security teams.
Billboard‘s September 9 front page detailed nationwide efforts to repress acts “that swear, engage in erotic posturing, and sing lyrics touting violence.” It reported curtailment or cancellation of shows by Skid Row, Too Short, GWAR, and N.W.A., as well as arrests of Bobby Brown in Columbus, and Skid Row’s Sebastian Bach in Johnstown, Pennsylvania. Among other towns where local officials censor rock are Cincinnati and Toledo, Ohio; Erie, Pennsylvania; and Poughkeepsie and Syracuse, New York. GWAR manager Bill Levine says that in Toledo, “We couldn’t say fuck or shit, but it was OK if we cut the heads off people.” (The decapitation of mannequins and pseudo-dismemberment of each other is a focus of GWAR’s oeuvre.)
The New York area is not immune to governmental shenanigans against rock. Some months ago, Middlesex, New Jersey, district attorney Alan Rockoff formed JUST (Joint Unit To Stop Terrorism), alleging the task force is necessary to stop cemetery vandalism caused by kids listening to rock. “There’s a healthy way to be Big Brother,” says Rockoff, whose unit tracks heavy metal bands and their fans with a computer.
N.W.A has not yet played New York. According to Ice Cube, nobody’s made the multiplatinum hip-hoppers a worthwhile offer.
RETURN TO SENDERS
In July, I obtained the suspiciously uniform batch of letters that Priority Records received protesting N.W.A.’s Straight Outta Compton. To find out why the letters were so often alike, I called their authors, who came from all over the country. I checked more that 100 letters.
Most of the letters claimed that the authors would “never buy an album from your label again,” but my interviews with their writers indicated that none of them had ever bought any LP, cassette, or CD in the last 18 months excepts two who said they’d purchased a “Christian record.” (How can you boycott product you never buy?) None were aware of a wide range of rap acts, including Run-D.M.C.; several said they’d never heard of N.W.A. Those who were aware of the group said they’d learned about them from Reverend James Dobson’s Citizen magazine. Not one of these anti-N.W.A. letter-writers had listened to their record, although many were quick to respond to questions about the group by saying that “**** Tha Police,” as one put it, “calls on blacks to kill police officers.”
Only a single letter-writer acknowledged living in a household with anyone who buys “rock ‘n’ roll records.” And that respondent was the one who asked for advice on how to organize a rock-bashing group. She said she’d already started working on it.
This article from the Village Voice Archive was posted on September 2, 2020