“Usually this oneness is expressed in actions of joy and happiness. Occasionally, if the music is outrageous or strong enough, it engenders violent, antisocial action on the part of the listener. Emotional telepathy,
195
WITH FRIENDS LIKE THESE . . .
Mr. Parker, on a grand scale, and right under our very noses! No wonder their parents don’t understand their actions.”
– Parker didn’t completely understand this spiel, but he wasn’t buying any of it. “Baloney! All kids don’t react that way. Hell, some of ’em don’t even b’ke rock music!”
“Perhaps the minds of some are immune to the effect,” Collins shrugged. “Others have raised conditioned barriers in their minds to the music. But in those who are receptive, the reactions are universal. A top group will produce the same effects in an audience of young people in Rome, New York, or Rome, Italy; in Moscow, Idaho or Moscow, Russia.” His voice got low and excited.
“In some way, Mr. Parker, I believe that today*s music releases the blocks against intermind communication that normally exist in the human mind. Today’s environment may have something to do with it. So may the use of electronics. Consider! Some of the most popular, idolized figures in rock have what are by professional musical standards no voice at all, and are technically weak instrumentalists to boot. They come from every conceivable cultural background, having nothing in common except this uncanny ability to submerge themselves and their audiences in the music.” He relaxed slightly, grew a little less fanatical.