Music
Frank Zappa's 1979 concept album/rock opera Joe's Garage lampoons Scientology in the song "A Token of My Extreme". Zappa uses terminology such as "L. Ron Hoover" and "Appliantology", telling the main character "Joe" that he "must go into the closet" to pursue his latent appliance fetishism. Gary Numan had popular songs laced with Scientology references in the 1980s such as "Me, I Disconnect from you", "Praying to the Aliens", and "Only a Downstat", influenced directly by Burroughs' Scientology-based writings.
The alternative metal band Tool has voiced criticism of Scientology. After releasing their first full-length album Undertow in 1993, the band began touring to promote their new work. In May 1993, Tool was scheduled to play the Garden Pavilion in Hollywood but learned at the last minute that the Garden Pavilion belonged to the Church of Scientology, which the band felt clashed with "the band's ethics about how a person should not follow a belief system that constricts their development as a human being". The band's vocalist Maynard James Keenan recalled that he "spent most of the show baa-ing like a sheep at the audience". Scott Schalin reported in Bay Area Music: "Between songs, Keenan, staring first at the lush grounds paid for by devoted L. Ron followers and then into the eyes of his own audience, bayed into the mic like a sheep looking for his shepherd's gate. "Baaaaa! Baaaaa!" the singer bleated." The lyrics to the Tool song "Ænema" contain the phrase: "Fuck L. Ron Hubbard, Fuck all his clones."
Read more about this topic: Scientology In Popular Culture
Famous quotes containing the word music:
“If this be love, to clothe me with dark thoughts,
Haunting untrodden paths to wail apart;
My pleasures horror, music tragic notes,
Tears in mine eyes and sorrow at my heart.
If this be love, to live a living death,
Then do I love and draw this weary breath.”
—Samuel Daniel (1562–1619)
“A woman’s two cents worth is worth two cents in the music business.”
—Loretta Lynn (b. 1930)
“In benevolent natures the impulse to pity is so sudden, that like instruments of music which obey the touch ... you would think the will was scarce concerned, and that the mind was altogether passive in the sympathy which her own goodness has excited. The truth is,—the soul is [so] ... wholly engrossed by the object of pity, that she does not ... take leisure to examine the principles upon which she acts.”
—Laurence Sterne (1713–1768)