<?xml version="1.0" encoding="UTF-8" standalone="yes"?><oembed><version><![CDATA[1.0]]></version><provider_name><![CDATA[The Dish]]></provider_name><provider_url><![CDATA[http://dish.andrewsullivan.com]]></provider_url><author_name><![CDATA[Andrew Sullivan]]></author_name><author_url><![CDATA[https://dish.andrewsullivan.com/author/sullydish/]]></author_url><title><![CDATA[Moral Panic Sells]]></title><type><![CDATA[link]]></type><html><![CDATA[
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<p>Particularly in the <a href="http://www.freakonomics.com/2012/12/17/adventures-in-ideas-how-music-gets-popular-qa-with-jennifer-lena/" target="_self">music industry</a>: </p>
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<p>Music history is littered with  examples of &quot;moral panics&quot;: be-bop jazz was blamed for white-on-black  race riots in the mid-1940s, just as rap music was blamed when riots  erupted in Los Angeles following the Rodney King trial.  In both cases, sensationalized news reports and especially a focus on  the &quot;dangerous&quot; elements in the music attracted young people in droves. Moral panics, like magnets, repel and attract. This is also true when  disputes involve dueling scenes, like the fights between &quot;mods&quot; and &quot;rockers&quot; in the U.K. in the early 1960s or the battles between fans of  heavy metal and punk that played out on the pages of <em>Creem </em>magazine  in the early 1980s. It is equally true when outsiders attack: the  Parents’ Music Resource Center’s efforts to ban heavy metal and rap  music resulted in those Parental Advisory stickers. When rock fans  staged the infamous Disco Demolition at Comiskey Park they may have kept  disco in the limelight for an extra year. </p>
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