of media attention. In addition, some communities and states have recently proposed ordinances to identify and monitor offensive music, and several state and Federal instances of legislation have dealt with the control of music in some form or another. In any event, it can be observed that following the PMRCs actions and the Senate Hearing, which was after all a direct result of the PMRCs activities, the stage was set for a climate of law enforcement, legislation, and further social mobilization targeted against and for popular music. Paradoxically, the PMRC has always been careful to avoid bringing in the First Amendment and stressed that it did not seek any legislation. But the world of music must fit the word of law. II. MUSIC ON TRIAL: LOUDNESS, INCITEMENT, AND OBSCENITY I limit this analysis of court rulings on popular music to three often discussed, and from a legal point of view most important, cases. It should be noted, however, that next to these cases other legal interventions in popular music did occur after, as well a before, the PMRCs activities. In 1986, for instance, criminal charges were filed against Jello Biafra, lead singer of the Dead Kennedys for having inserted a poster inside of the bands album Frankenchrist. The poster, painted by H.R. Giger, is called "Landscape # 20: Where Are We Coming From?" (also referred to as "Penis Landscape") and depicts nine sex acts (Wishnia 1987:444). Strikingly, in a public statement, the PMRC expressed its support for the prosecution of Biafra. The case was brought to court by a concerned mother, but the religious right is reported to have already condemned the Dead Kennedys since their 1981 album "In God We Trust", which features the lyrics "Blow it out your ass, Jerry Falwell; God must be dead if youre alive" (Wishnia 1987:445). On August 27, 1987, Los Angeles Judge, Susan Isacoff, denied the prosecutions motion for a retrial after a jury voted 7 to 5 to acquit Jello Biafra on c...
