To see deeper into the notion that links crime to the social influences of music we must look at the actual music, bands and clubs at that time. Music is an essential part of Western culture. The need and appreciation for music is evident in the everyday lives of people for it is heard in movies, on television and throughout all forms of audio media. The majority of people also choose to listen to music for pleasure so it is not surprising, considering the bombardment of music one is faced with, that music can be an instrument of social influence and change. Music is a powerful form of communication. It can be personal, political, opportunistic, and can be self-expressive with therapeutic effects due to the release of emotion. According to Judith R. Blau, music has direct, emotional immediacy and is the expression of shared community experiences and social cohesion. Consider the social cohesion of music with regards to adolescents. D. Roberts and P. Christianson claim, "music alters and intensifies their moods, furnishes much of their slang, dominates their conversations and provides ambiance at their social gatherings" (Blau,1987,883-889). They suggest music to be more influential to teenagers than television, movies, and even computers and go so far as to say that music may possibly be dangerous for some youth.

The American Academy of Pediatrics states that "there is a cause and effect relationship between media and real-life violence," (Blau,1987,883-889) but is there a relationship between music and real-life violence? In a study conducted by Judith Blau, she explores the question: "Is there a link between music and forms of social disorganization, or a link between music and deep-seated economic problems?" (Blau,1987,283-289). She found that popular music can express and foster brutality, and that it is positively related to violent crime rates, suicide and divorce rates, as well as the population change in the United States. She suggests that the supply and demand for popular music is relatively sensitive to social dislocation. Of Blau's findings, the most relevant to the question of music and crime is that popular artists tend to flourish in metropolitan areas where economic conditions are poor, thus the supply and demand for it is responsive to a climate of uncertainty as manifested in economic inequalities. The economic status of Liverpool was so poor in the 1950s that it was common for families to use the doors inside their homes as fuel for heat. Though the economy had improved by the sixties, the conditions were still deplorable. According to Blau's theory, Liverpool had all the makings for a surge of popular music. Blau also found that urban levels of popular leisure activities that take people out of their homes are also positively associated with high rates of crime. The music explosion of the sixties should certainly be considered an event that brought people out of their homes and possibly directly influenced crime rates. The exposure to the music scene, in terms of it being a social phenomenon, may have created more crime and thus there may indeed be a connection between music and real-life violence.