As these are read, remember that secular musicians admit they want to promote rebellion and sensuality, and they purposely create music techniques to accomplish those ends. Many (not all) forms of CCM/CWM contain these elements, from “mild” soft rock rhythms, to the heavy metal rhythms and everything in between.

· “Rock ‘n roll doesn’t glorify God. You can’t drink out of God’s cup and the devil’s cup at the same time. I am one of the pioneers of that music, one of the builders. I know what the blocks are made of, because I built them.” (Little Richard, Dallas Morning News, Oct. 29, 1978.)

· “Rock ‘n roll is 99% sex.” (John Oats in Circus, Jan.31, 1976.)

· “In a sense, all rock is revolutionary. By its very beat and sound it has always implicitly rejected restraints and celebrated freedom and sexuality.” (Time Magazine, Jan. 3, 1969, p. 49.)

· “…rock music has one appeal only, a barbaric appeal to sexual desire…” (Alan Bloom, The Closing of the American Mind, p. 73.)

· “…irrespective of the lyrics of the song, rock music communicates aggressive sexuality.” (John Blanchard, Pop Goes the Gospel, p. 188.)

· “To deny rock music…was to deny sexuality.” (Frank Zappa, ‘The Oracle Has it All Psyched Out.’ LIFE, June 28, 1968, pp 82-91.)

· “Rock ‘n roll is musical pornography.” (David Noebel, The Legacy of John Lennon: Charming or Harming a Generation? p. 81.)

· “The music is…a kind of sexual expression. The beat has genuine sexual implications.” (Payne-Whitney Psychiatric Clinic, New York Times Magazine, March 14, 1965, p. 72.)

· “Rock music involves a neurophysiological conditioning in connotation or felt meaning, linking aggression and sexuality.” (Drs. Daniel and Bernadette Skubik, in their study, ‘The Neurophysiology of Rhythm.’)

Regarding drum rhythms causing trance, altering consciousness, and the use of certain rhythms in voodoo:

· Everywhere you look on the planet people are using drums to alter consciousness.” (Mickey Hart, Drumming at the Edge of Magic, p. 28.)

· “In Haitian voodoo, as in Africa, the drum is holy. The drummer is seen merely as the servant of the drum…through his drum he has great influence on the ceremony. Each loa [demon] prefers a fundamentally different rhythm, and the drummer knows them all and all their variations. He can often invoke possession by what he plays….” (Michael Ventura, Shadow Dancing in the USA, p. 115).

· “…a lot of the beats in music today are taken from voodoo, from the voodoo drums. If you study music in rhythms, like I have, you’ll see that is true. I believe that kind of music is driving people from Christ.”  (Charles White, quoting musician Little Richard in The Life and Times of Little Richard, p. 197.)