"JC Chasez is a leering, clubbing letch," or, this is a thread about Focus on the Family's pop-culture magazine, "Plugged In"

OBJECTIONABLE CONTENT (re: "Wild Honey")
That same song also gives a nod to Darwinian evolution ("In the days when we were swinging from the trees/I was a monkey").

"The last heavily hyped battle between Trojans and Spartans pitted USC against Michigan State in the 1988 Rose Bowl. (The Spartans won 20-17, no wooden horse required.) Much like that football game, Troy features muscle-bound warriors, cool helmets and a few trick plays. The big difference, of course, is the level of violence. Instead of chop blocks, rivals in this contest have limbs chopped off...During the lulls, Pitt and Bloom’s characters have sex with women they aren’t married to. And who’s behind it all? The gods. Thanks, Homer, but as much as I appreciated the moral fiber of that Hector fellow, we’re still better off watching a rerun of the 1988 Rose Bowl on ESPN Classic."

It's like reading a review written by a character from some 1940s detective movie who also happens to be a prude. (so...classic?)

"Two discs. A vile 135 minutes of material. How irresponsible is this project? Laughter erupts when Big Boi’s 3-year-old says “muthaf---er.” If he and his partner, Dre, are that lax about corrupting one of their own kids, just imagine how willing they are to corrupt yours."

I see Jess has finaly found the right home for his legendary Outkast review!

OHMIGAWD we're all gonna die.

But instead of just feeling a city’s pain and honoring its heroes, [Bruce Springsteen's] The Rising also seeks to restore calm with sex, parties and Buddhism.

If I get too deep into that site, I suspect I will not reemerge.

ned, you need a spiritual awakening...quit listening to your dirty Springsteen records!

I never knew enlightenment was so easy, painless and satisfying!

"Mean Girls has forced me to wonder if teen culture has declined to the point that it’s now impossible to create a bitingly relevant commentary on it without resorting to objectionable themes."

This raunchy Top-40 effort features slick production and smooth vocals, but is lyrically depraved. Nearly every track sounds like an encounter-group confession of sexual addiction-though Howard has no desire to amend her ways. Caution teens not to accept a Ride from this hormonally obsessed singer.

This disc sounds a lot like Van Halen's early arena-rock projects fronted by former lead singer David Lee Roth-but without their rebellion and sexuality. A welcome shift.

OH NO

Will & Grace features a gay man and a straight woman who live together. It unashamadly attempts to establish homosexuality as a cultural non-issue. Ellen screamed "Look at me, I'm gay!" Will & Grace calmly intones, "Of course I'm gay, why wouldn't I be?" The show isn't defensive or desperate. Nor is it vehement or venomous. Merely matter-of-fact--an attitude infinitely more damaging to traditional morality than any of Ellen's grandstanding.

A statement by Eric McCormack, who plays Will, underscores this concern. He says, "When old ladies out there say, 'Oh I hope he meets a nice man,' that's when we'll know the show has succeeded." Costar Debra Messing adds, "There are a lot of places around the country where they don't get it. . . . The world from years and years ago has been preserved for one reason or another. Thank God that's changing. . . . [Being gay is] not a big deal."

Not a big deal? The Scriptures strongly disagree. Maybe that's why Focus on the Family increasingly gets letters from teens confused about gender issues. A girl from Michigan recently wrote, "Ever since Ellen DeGeneres revealed her lesbian lifestyle in real life and on her TV show, my friends and I have been in disagreement about the homosexuality issue. It does say in the Bible that homosexuality is wrong, but that doesn't mean that God doesn't love gays and lesbians." So far, so good. Then she continued, "But I also feel that if that kind of lifestyle is what makes a person happy, then nothing can stand in their way. I don't condone homosexuality, but I don't condemn it either."

Will & Grace isn't teens' only mentor in this arena. The message of the hour is that homosexuality is emotionally healthy and culturally beneficial. It just receives glowing support from TV.

A word of temperance: Opposing the normalization of gay culture should never be synonymous with hatred or violence toward people caught up in sexual sin (John 8:3-11). Popular R&B singer Kirk Franklin models what the Christian response to this divisive issue must be. After being offered a role on a UPN comedy show, he learned he would have to endorse homosexuality on screen. Franklin flatly refused--a stand that cost him the job. "I am not homophobic," he explains. "I don't hate gay people, but I believe it is a choice, a wrong choice, and that Jesus has the power to repair the hurts in our hearts that lead to that kind of behavior." There's nothing confusing about that.

as always, happy blues are key here.

SUMMARY ADVISORY
Radiohead’s creepy, discordant style provides a dreary context to fans trying to decode the band’s obscure lyrics. Hail to the Thief has a measured, sleepy sound that might narcotize teens, but sure won’t do anything to inspire them.

I can’t help wondering why a movie so carefully targeted at young children includes a transvestite bartender, Pinocchio in women’s underwear and Donkey as a playboy.

If you go to the review of Xtina's Stripped they go on about the 'immodest pictures' and BLACK OUT XTINA'S CHEST on the front cover, even though alll you can see is her HAIR. Also, "The Voice Within" tells fans to trust their hearts. If Stripped is the evidence of Aguilera trusting hers, it proves beyond Jeremiah 17:9 that it’s a lousy idea. Well, that's Aguilera told then.

They also seema bit disappointed that on Ani DiFranco's Revelling/Reckoning there's not enough objectionable content! So they just say "well, your teens shouldn't listen to this anyway cos she's a dyke".

exposto

Objectionable content
That song and “This Land Is Mine” exclaim “my god” and “oh lord,” respectively.

Clay Aiken almost got away with a "no objectionable content" review. ha.

Were they on crack?

Ah, see, the trick about all these reviews is that they're all coming from the same place -- the lyrics mean absolutely everything first and foremost! So on the one hand, the opposite of me, on the other hand, they cut right through the 'how can I square my love of the music with these crap sentiments, oh woe is me' conundrum.

Obscenities fly. There’s also crass sexual slang on "Hola Hovito" and "Girls, Girls, Girls." The latter finds Jay-Z bragging about having "chicks" of every nationality and psychological profile waiting at his beck and call. He puts himself on a pedestal, full of arrogant bluster and quick to remind people that they can’t match his fame or his bank balance ("Takeover," "U Don’t Know," "Hola Hovito"). "Heart of the City (Ain’t No Love)" combines predatory sex and drugs as the rapper says, "Get a couple of chicks, get ’em to try and do [Ecstasy]/ Hopefully they’ll ménage before I reach my garage." "Never Change" talks about peddling dope, smoking marijuana and being "knee deep in coke." It also tells young fans that "crime pays." On "Blueprint (Mama Loves Me)" he mixes drugs and alcohol. Violent threats appear on a half-dozen tracks. Guest rapper Eminem fancies himself a modern-day Jesus and seems to be at war with people of faith ("Wavin’ the pistol at 60 Christians against me").

From thug posturing to drugging strange girls in hopes of scoring a lewd threesome, this disc (three weeks at number 1) is totally corrupt. Any building constructed using Jay-Z’s Blueprint should be condemned.

Objectionable Content
None

Summary Advisory
Clint turns a phrase as he borrows from the title of his first album, Killin' Time. He also turns a corner. No Time to Kill demonstrates lyrical maturity. Instead of "drinkin' [him]self blind," Black avoids any endorsement of alcohol use or abuse. And, although a few songs mourn romances beyond repair, all of the relationships are wholesome. For young fans of hot fiddles and pedal steel guitar, a solid pick!

Fugees The Score

Pro-Social Content
None

Objectionable Content
A near-constant stream of profanity flows through more than 73 minutes of audio sludge. Glorifications of violence include bragging about a robbery ("Ready or Not"), hateful threats against police ("Red Intro"), gang shootings ("The Score"), planning an assassination ("Zealots") and much more. The artist invites Newt Gingrich to engage in oral sex ("The Beast") and decries black-on-black violence by stating, "Only problem we have is killing the people who don't look like us who oppress us/S---, you wanna impress me? Shoot the muthaf----- who turned off my lights/Shoot somebody who makin' my bills high." Other tracks recommend smoking marijuana, downing whiskey sours and drinking moonshine. The trio's theology is a disturbing blend of Rastafarianism, voodoo and a warped view of Christianity. The title cut finds a man in a bar boasting of a sexual conquest.

Summary Advisory
Its rasta-reggae flavor is all that sets this effort apart from run of the mill gangsta trash. Incessant profanity. Drugs. Alcohol. Murder. Take the parental advisory seriously and point teens away from The Score.

Ani DiFranco Revelling/Reckoning

Pro-Social Content
A line on "Tamburitza Lingua" knocks television’s misuse of "human devastation as mass entertainment." "Subdivision" wants to see positive change occur in society. Domestic conflict is shown to be ugly and unproductive on "Old Old Song." Other tracks appreciate a partner’s patience ("Sick of Me") and lifelong commitment ("In Here"). More than a dozen of this double-disc’s songs are either instrumental or morally neutral.

Objectionable Content
The f-word mars "Garden Simple," while a bitter s-word pops up on "So What." On "Tamburitza Lingua," DiFranco condemns God’s chain of command for families as "the bloodthirsty hierarchy of the patriarchal arrangement." Conservative presidents get ripped on "Your Next Bold Move." While not explicit, "What All Is Nice" fondly recalls a love-making session. On "Grey," the singer boasts, "I smoke and I drink . . . but as bad as I am, I’m proud of the fact that I’m worse than I seem."

Summary Advisory
A whopping 39 songs make up this project, many of them innocuous ramblings about life and love. Unfortunately, DiFranco’s language gets rough in places and her liberal leanings could send undesirable messages to young listeners. Furthermore, this artist is openly bisexual. When MTV asked her about that, she replied, "It’s hard enough to find somebody you can stand for more than 10 minutes, so you shouldn’t narrow your options." Teens should skip Revelling /Reckoning.

Indigo Girls Shaming of the Sun

Pro-Social Content
A line on "Leeds" sympathizes with the victims of racially motivated church burnings.

Objectionable Content
The band's pro-lesbian agenda blatantly manifests itself in these lyrics. "It's Alright" addresses anti-gay bigotry and calls for tolerance. "Don't Give That Girl a Gun" describes a strained romance between two females. On "Burn All the Letters," the singer relates an affair she had with a married woman. One song actually uses religious lingo to recount lesbian passion ("I'm speaking in tongues handling you/I got religion") ("Shed Your Skin"). Reminiscence of a female houseguest causes the singer to recall "the sweat of our sadness and the twist of the sheets" ("Caramia"). She also admits to being "halfway drunk" on "Leeds." There's one use of the f-word ("Shame on You").

Summary Advisory
Homosexual propaganda abounds. Even love songs not expressly about gay relationships will be interpreted that way in light of Sun's greater context. In an age of sexual confusion among teens, this disc can only do more damage.

Elton John Made in England

Pro-Social Content
"Please" models romantic commitment as it asks a love, "Let me grow old with you." On "Blessed," the artist sensitively promises his love to a child not yet conceived. "Belfast" denounces Ireland's civil unrest while honoring the city itself for its bravery and strength.

Objectionable Content
"Believe" suggests that the church is just another decaying institution. Elton identifies religion, love, purity and peace as "Pain." "Lies" posits that dishonesty is a regrettable, yet normal part of daily existence, admitting in the process, "I've lied for a drug or two." Upset with an unnamed individual, he sings, "Well, here's my middle finger" ("Made in England"). The tune also refers to his homeland as a place where "you can still say homo and everybody laughs . . . but the joke's on you."

Summary Advisory
A mixed bag. Even the positive love songs are hard to enjoy knowing Elton John's own sexual preference.

Madonna Music

Pro-Social Content
Madonna values relational commitment, stating that it doesn’t pay to be—or give one’s heart to—a "Runaway Lover." On "Nobody’s Perfect," an unspecified mistake (her infamously raw language on Letterman maybe?) leads to the confession, "What I did wasn’t right/I feel so bad/And I must say to you/ Sorry, but nobody’s perfect." Love blooms on "Amazing," "I Deserve It" and "Impressive Instant." Elsewhere, the artist refuses to let a failed romance get her down ("Gone"). The girls-are-people-too anthem "What It Feels Like for a Girl" condemns male chauvinism by addressing hurtful myths about female inferiority. While not world-changing, the themes on Music continue a move away from the bawdy, rebellious lyrics that made Madonna so controversial for a decade and a half.

Objectionable Content
Lines on "What It Feels Like for a Girl" enumerate the sensual qualities of the fairer sex and teasingly imply that men wish they could unabashedly explore their feminine side (raising subtle gender issues).

Summary Advisory
This music maven’s latest effort sustains a stylistic shift toward pulsing, production-heavy rhythms. And like the messages (not the photos) on 1998’s Ray of Light, it also demonstrates lyrical responsibility. As long as fans steer clear of her edgy videos on MTV, they'll get Madonna the artist, not Madonna the provocateur. The singer’s long history of lasciviousness notwithstanding, her new Music is shocking in its own right—shockingly positive.

Hootie & the Blowfish Cracked Rear View

Pro-Social Content
The hopeful "Drowning" calls for healing amidst racial hatred. "I'm Going Home" conveys the emotional struggle of a young boy coping with the death of his mother, who he calls his "best friend." Painful farewells occur in various romantic contexts as well, but usually displaying tenderness and affection for the other person rather than anger or despair ("Goodbye," "Hannah Jane," "Look Away"). With a passion found throughout this disc, "Not Even the Trees" ponders life without a love who has passed on.

Objectionable Content
Drug and alcohol use shows up on "Let Her Cry." Unfortunately, one profanity taints "Drowning"'s anti-racism message.

Summary Advisory
These few, yet significant caveats spoil an otherwise fine effort by a hot debut act. Gritty vocals bring to mind Bruce Springsteen. In the future, maybe Hootie will reflect and avoid mirroring the few mistakes of Cracked Rear View.

Destiny’s Child Survivor

Pro-Social Content
These ladies condemn scantily-clad women on the prowl ("Nasty Girl"), as well as ones who cheat, lie and scheme ("Fancy"). Love blooms when game-playing ceases on "Brown Eyes." "Dangerously in Love" expresses romantic devotion with marriage as the goal. A sad but poignant song, "The Story of Beauty" describes the cycle of sexual abuse in an attempt to help innocent victims feel valuable and beautiful. Adopting a childlike perspective on the world reveals beauty often taken for granted ("Happy Face"). "Gospel Medley" praises God with the trio’s rendition of "Jesus Loves Me," verses from 1 Corinthians 13 and more.

Objectionable Content
Immodest slang and the singers’ prideful overemphasis on their own appearance trip up "Bootylicious." While not explicit, "Sexy Daddy" and "Apple Pie a la Mode" feature hormonally tinged infatuation. Somewhere beyond healthy autonomy lies the two-part female- empowerment anthem "Independent Woman" ("No falling in love, no commitment from me . . ./Do them boys like they used to do you/If you pimp him, I congratulate you").

Summary Advisory
The foursome of a year ago is down to three. Newcomer Michelle Williams has joined survivors Kelendria Rowland and Beyonce Knowles. Together the trio is moving in a positive direction. Despite some problems, Destiny’s Child shows a soft spot for God, marriage, personal integrity and people in pain. Of course, CCM’s Out of Eden and Trin-i-tee 5:7 are even better options in this genre.

Alan Jackson Who I Am

Pro-Social Content
Some great tunes about the importance of family. "You Can't Give Up On Love" reminds spouses that "every day can't be a honeymoon," and takes a sober look at the fallout from divorce. "Livin' On Love" prefers the affection of a new spouse to materialistic trappings. Jackson deems life on the road unfulfilling apart from his wife and daughters waiting at home on "Job Description." "Song for the Life" takes pride in drinking less and enjoying life's simple pleasures more.

Objectionable Content
Several tracks glorify irresponsible living, from rowdiness and alcohol use ("All-American Country Boy," "Who I Am") to drunken lust ("I Don't Even Know Your Name") and venting frustration by damaging property ("Hole In the Wall").

Summary Advisory
The good is very good. Unfortunately, mixed messages on Who I Am leave young fans to wonder who Jackson really is-and which behavior is worth imitating.

Jay-Z Vol. 3...Life and Times of S. Carter

Pro-Social Content
None

Objectionable Content
This cocky criminal boasts about possessing numerous firearms ("Come and Get Me"), carrying guns to the Grammys ("So Ghetto") and being "so confrontational, they shoulda never let me go on probation" ("NYMP"). Violence invades many other cuts with statements such as, "I got the mind capacity of a young Butch Cassidy," "[I] keep a full clip I have to empty out on n---ers" and "I bury n---ers six feet deep." Proud of his obscene lyrics, Jay-Z crows, "Radio’s gotta play me though I cuss too much" ("So Ghetto"). True to his gangsta roots, he refers to woman as "b--ches" and whores amid a flurry of crass sexual references. "Snoopy Track" says, "I got a main chick, a mistress and a young b--ch." On "S. Carter," a female voice claims, "I love rough sex." There’s marital infidelity ("Watch Me"), sex with multiple partners ("Do It Again") and an approving nod to "chicks that get dough for takin’ off their clothes/All them money-makin’ honeys that slide down the poles" ("Snoopy Track"). A half-dozen raps glamorize illegal drugs and alcohol, from smoking marijuana, to "pushin’ powder," to driving while intoxicated.

Summary Advisory
According to The Source, no one dominated rap music in 1999 like Jay-Z. As for the artist’s rap sheet, he was recently charged with felony assault for stabbing a record exec in a nightclub. His lawyer insists he’s "as gentle as can be." Jay-Z’s music--with its arrogant swagger, lack of self-control and unbridled brutality--suggests otherwise.

Pro-Social Content
None

Objectionable Content
The sexual hit "Crank That (Soulja Boy)" uses the term "superman dat ho," a malicious act involving masturbation. The rapper shills products that he says make him cool, including a Sidekick 3 cell phone ("Sidekick") and Bathing Ape shoes ("Bapes"). The dance track "Let Me Get 'Em" includes the sound of cocking guns and talk of a shootout. Whining about the price of fame, he disrespects and threatens "ugly" female fans eager to chitchat on "Yahhh!" ("Get up out my face you doo-doo breath dummy/... Leave me alone, ho, before I have to knock your lights out"). He shows similar contempt for the education system ("Report Card") and condescends to parents about why their kids fawn over his cultural "movement" ("Don't Get Mad"). A handful of mild profanities creep into several cuts. "Donk" and "Bootymeat" fixate on girls' posteriors. The 17-year-old artist fancies himself a gangsta for whom the ladies are "Thirsty."

Summary Advisory
Lyrics for explicit versions of these lusty, boastful songs appear online, but this disc is far from tame. If teens ask for Soulja Boy, tell'em they can do better.

>If teens ask for Soulja Boy, tell'em they can do better.

LOLOLOLOL

"Lines on "What It Feels Like for a Girl" enumerate the sensual qualities of the fairer sex and teasingly imply that men wish they could unabashedly explore their feminine side (raising subtle gender issues)."

I like the restraint of this writer.

thank you big hoos

"Lines on "What It Feels Like for a Girl" enumerate the sensual qualities of the fairer sex and teasingly imply that men wish they could unabashedly explore their feminine side (raising subtle gender issues)."

Pleased to see that grad schools still emphasize the use of "enumerate" and colorful adverbs for effect/affect.

Taylor Swift
"Mine"
Millions of fans have been more than a little antsy to hear something new from Taylor Swift, whose 2008 album Fearless went platinum six times over in the U.S. So antsy, in fact, that somebody leaked the lead track from her October 2010 album Speak Now before Swift and Co. wanted to release it. As the low-quality MP3 began to go viral online, Big Machine Records decided to push out the real deal. It immediately jumped to No. 1 on the digital chart and No. 3 on Billboard's Hot 100.

"Mine" is Taylor's account of her first, sweet realization that she's in a committed relationship. She lauds two great ideas: loyalty and remembering your first rush of love when life gets mundane. On the first count, she sings, "Braced myself for the good-bye/'Cause that's all I've ever known/Then you took me by surprise/You said, 'I'll never leave you alone.'" As for the second, "But we got bills to pay/We got nothin' figured out/When it was hard to take/This is what I thought about/Do you remember, we were sittin' there by the water?/You put your arm around me for the first time." The song's video lends positive weight to the line, "You made a rebel of a careless man's careful daughter/You are the best thing that's ever been mine," by showing us that in this case, being a rebel means falling in love and staying in love.

Those sentiments would be sweeter and more comforting if it weren't for one other thought the song holds: Rarely does Swift hint at sex in her lyrics or her personal life, but with the line "And there's a drawer of my things at your place," the 20-year-old star implies that she (or at least the she in her song) is sleeping over with her sweetie. The video adds images of moving boxes. Later it shows the couple getting married.

The idea of through-thick-and-thin love is great. Taylor rightly celebrates the peace and good memories that come with this type of solid relationship. But I can't help but think of the millions of young girls who devour her every lyric. How is that other subtle-but-still-there idea going to digest?

TAYLOR HOW DARE U HAVE SECKS B4 MARRIAGE

Awesome quote here also (I've trimmed the full article):

Katy Perry
Teenage Dream

And a cheerleader-rock beat drives Katy's craving to see her boyfriend's "Peacock-c‑‑k-c‑‑k." She offers far more than enough explicit detail to rule out any sort of exotic bird he might have in the backyard. And it's not the only song on which she ogles the male anatomy.

Arcade Fire
The Suburbs

The Suburbs doesn't get urban with foul language, violent exhibitionism or sexual preoccupations. And, as such, it resembles those manicured lawns and nicely aligned mailboxes all along the street on which Win Butler himself grew up.

But like the very 'burbs of Butler's imagination, The Suburbs opens the door to darker things. Walk through these melancholy avenues, and they will begin to feel morose to the point at which, perhaps, they become oppressive. Arcade Fire welcomes us into a bleak, practically dystopian world where things are not quite what they seem. Then the band implores us to make this bleak world better. And nothing can be said against that. Just don't wrap yourself in their bitter cloak for too long.

So the end result is a lament, an indictment and, curiously, a small celebration of, in Butler's words, "these cities meant to change."

loooooooooooooooool

OMG

Avenged Sevenfold
Nightmare

Four songs include f-words. CD sleeve images are of vengeful skeletons, some of which (made to resemble the band) are drinking and smoking.

Avenged Sevenfold is a frustrating band to review. Just when I think, That's an amazing insight, or, These guys are being pretty vulnerable there, I get knocked down by obscenities or angry, confused recriminations against God. So when their songs occasionally seem to be on the cusp of getting some important spiritual ideas right, it just makes the stuff in the "nightmare" column that much more maddening.

I promise this is the last one... fuuuuuuuckk!

Miley Cyrus
Can't Be Tamed

Miley's changing image is reinforced by the concert DVD that accompanies the deluxe version of Can't Be Tamed. It features 19 songs and behind-the-scenes clips from Miley's five-night run at London's O2 arena in December 2009. Cleavage- and leg-baring outfits are the name of the game for Miley and her dancers, and we also see quite a lot of sexualized writhing, grinding and gyrating throughout the video. Miley grabs at her chest and crotch suggestively several times. And we hear mild profanity ("d‑‑n," "h‑‑‑" and misuses of God's name) from the stage and backstage. Two conversations Miley has with one of her male backup dancers reference his homosexuality, and dialogue between them also includes a joking allusion to a preteen girl masturbating.

This is like the time some nine-year-old girl in the park told me "I listen to country because they only say the d-word and the h-word."

I'm so glad there's a thread about this magazine/website. Spent so much time reading this shit as a kid.

It doesn't help matters that Pure Heroine is so deeply secular in its musings, with God almost never creeping into the lyrical picture. In place of anything spiritual, the best Lorde can find to fill the vacuum is friendship (and perhaps romance) with likeminded souls. "I love these roads where the houses don't change (and I like you)," she professes on "400 Lux," "Where we can talk like there's something to say."

Those quality concepts, sadly, must compete for our attention amid an avalanche of negative content (much of it too sexually explicit to examine here). Most of the unprintable "Blow," for example, focuses on the singer's ecstasy as she receives oral sex and coyly appropriates one evocative double entendre after another to describe that experience. "Drunk in Love" deals with inebriated sex ("I get filthy when that liquor get into me/ … Baby, I want you/Can't keep your eyes off my fatty"). Later, Beyoncé's husband, Jay Z, raps, "We sex again in the morning, your breasteses is my breakfast."

On "No Angel," Beyoncé instructs, "Stop acting so scared, just do what I tell/First go through my legs, go back on your head." "Yoncé/Partition" tells (again, graphically) of wild sex in the back of a limo that wrecks a woman's dress ("Oh, he so horny/He want to f‑‑‑/He bucked all my buttons, he ripped my blouse/He Monica Lewinsky all on my gown/Oh, there daddy, d-daddy didn't bring the towel"). And more sex saturates "Rocket" ("Do you wanna touch it, baby?/Grab ahold, don't let go/Let me know/That you ready"). "XO" finds Bey panting, "Baby, take me."

So Christians don't approve of sex within marriage either?

Or is sex as a non-baby making act frowned upon?