I
DIDN'T DO IT; OR, IF I DID, IT WASN'T MY FAULT
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Cookie
Jar:
i would turn on the tv, but its so embarrassing
to see all the other people, i dont know what they mean
it was magic at first, when they spoke without sound
but now this world is gonna hurt, you better turn that thing down
turn it around
it
wasnt me, says the boy with the gun
sure i pulled the trigger, but it needed to be done
because lifes been killing me ever since it begun
you cant blame me because im too young
you
cant blame me, sure the killer was my son
but i didnt teach him to pull the trigger of the gun
its the killing on his tv screen
you cant blame me, its those images he seen
you
cant blame me, says the media man
i wasnt the one who came up with the plan
i just point my camera at what the people want to see
its a two way mirror and you cant blame me
you
cant blame me, says the singer of the song
or the maker of the movie which he based his life on
its only entertainment, as anyone can see
its smoke machines and makeup, you cant fool me
it
was you, it was me, it was every man
weve all got the blood on our hands
we only receive what we demand
and if we want hell then hells what well have
i
would turn on the tv, but its so embarrassing
to see all the other people, dont know what they mean
it was magic at first, but let everyone down
and now this world is gonna hurt, you better turn it around
turn it around
"I
didn't do it!" said the child caught with their hand in the cookie
jar. "It wasn't me!" exclaimed the child caught climbing down
from a tower of phonebooks—floor littered with broken porcelain
and cookies...
From an early age we learn that doing something that causes harm or
something that is against the rules is to be avoided. And soon after,
we also learn to provide exclamations and/or excuses to avoid being
punished. Subsequently, we learn to avoid responsibility and/or pass
responsibility to others when we are caught doing something that is
inappropriate.
Interestingly, we never seem to outgrow this learned method of avoiding
responsibility. As a result, it’s often the case that people are
quick in passing the burden of responsibility to someone else, in order
to avoid the obligation to right the wrong, or to fix something that
has been damaged.
Although the adult version of such exclamations may be worded in a slightly
different way and qualified with an excuse, it’s not difficult
to see that a person making such exclamations is really trying to evade
responsibility, and shift the burden of responsibility to someone or
something else. In short, adults often react the same way children do
when they are caught with their hand in a metaphorical cookie jar.
The irony of adults attempting to evade and shift responsibility like
children who are caught doing something wrong, is portrayed in the lyrics
of “Cookie Jar”. As illustrated by the characters in Johnson’s
song, this style of evading and shifting is shown when each character
is not willing to take responsibility for their actions—specifically
for acts of violence and acts of perpetuating violence in society. Although
there are certain acts that people are truly not responsible for—and
can honestly and ethically exclaim “you can’t blame me”—Johnson
rightfully points out that everybody should accept responsibility for
the high level of violence that we currently experience in our society.
To better understand why the exclamation “you can’t blame
me” is not an acceptable way to confront violence in society,
and why we all should take responsibility for violence, let’s
take a brief look at Brandon S. Centerwall’s article “Television
and Violent Crime”. This article is helpful to look at because
it encourages us to think about how our actions stimulate and perpetuate
violence. In addition, this article illustrates how television programming
is related to violence in our society, and can help us reflect on how
people fail to recognize and respond to violence that stems from television
programming.
Centerwall begins his article by suggesting that infants and young children
are innately inclined to imitate adult behavior. But, Centerwall notes,
“while children have an instinctive desire to imitate, they do
not posses an instinct for determining whether a behavior ought to be
imitated”. As a result, children who have not come to know the
difference between reality and what they watch on television, mistake
all the images on television as a factual account of how the world works.
It doesn’t matter if it’s a purple dinosaur, or a violent
fight seen, because “children up through ages three and four are
unable to distinguish fact from fantasy on TV, and remain unable to
do so despite adult coaching”. Thus, children exposed to violent
TV programming develop a grater inclination to act violently, because
they are inclined to imitate the violent behavior they watch on TV.
To provide support for his claim, Centerwall summarizes several different
studies that examined the relationship between violence and television.
For instance, Centerwall cites the Impact of Television (1986)
study, where forty-five children were observed before TV was introduced
to their community, and then two years after. Shockingly, the rate of
aggression among these children increased 160 percent, after two years.
This raise was a general increase in acts of aggression among boys and
girls; the increase was not merely limited to a few “bad apples”.
This study, along with the others, shows that television increased acts
of physical aggression among preadolescent children, and that these
increased aggressive dispositions stay with the children through adolescence
and adulthood. Interestingly, exposure to older groups did not appear
to increase their acts of violence. Thus, the preadolescent period of
children’s lives appear to be the most crucial period for creating
a disposition of aggressiveness.
After reviewing the effects of TV on preadolescent children, Centerwall
then summarized the television industry’s response to the claim
that programming caused a general increase in the level of violence
in society. In the beginning, major networks funded studies on childhood
aggression and exposure to television, and claimed that the average
increase was so minor that TV could not account for the major increase
in violence that has occurred in societies where TV was available and
regularly accessed. But, Centerwall points out, the level of aggression
in society is distributed in a range from virtually no aggression to
high aggression, with most members of society falling between these
two extremes—this is commonly described as a “bell curve”
distribution. This is a crucial point to notice, because the studies
showed a general increase in aggression for all children exposed to
TV, which means that the overall distribution of aggression is shifted
to a greater degree of aggressiveness.
Although the greater population—in the middle of the bell curve—only
experiences a minor increase in aggressiveness, the extremes are greatly
affected by an overall shift in the distribution. For example, Centerwall
points out that a mere 8 percent increase in the overall aggressiveness
of society will result in a doubling of acts of aggression—like
homicide—at the extreme of the distribution. In short, Centerwall’s
analysis shows that a general increase in the aggressiveness of a population
causes a great increase in acts of extreme aggression.
After the television industry realized the consequences of shifting
the overall aggressiveness, they stopped funding studies and started
allocating a great deal of resources to the political management of
the issue. But, it’s important to ask: “Why would they do
this; couldn’t the networks just change the level of aggressiveness
in their programming, and directly confront the increased rate of violence
in society?”
Of course they could confront the problem, but they never would. The
industry has its hands in a cookie jar full of money—millions/billions
of dollars—and they don’t want to take their greedy hands
out. So, instead of taking responsibility for their programming and
it effects, they have decided to say “It’s not our fault”
and “you can’t blame me”.
At the end of the day, the television industry does not care about the
content of their program. Rather, they care about the quantity of viewers,
and their ability to continually increase revenues from commercial advertisements—and
it’s not a secret that violence helps to attract and sustain a
large and profitable audience. Although the television industry is responsible
for what it produces, it’s highly unlikely that it would take
a hit in profits for the sake of social conscious.
Like any business, the television industry wants to make money and will
go to great lengths—and spend tons of their own money—to
insure that the scientific findings will not hinder their profit. We
can expect the television industry to check its negative effects on
society, just as much as we can expect the cigarette industry to help
in the ‘war against tobacco’. But, just because the television
industry is the source of violent and aggressive media, it does not
mean that the rest of society can sit back, and passively declare, “It’s
not our fault, and you can’t blame me”.
Everyone is obligated to take responsibility for the aggression and
the subsequent violence in our society. We should aim to not be like
the characters in the lyrics of “Cookie Jar” because they
are not willing to take responsibility. Hiding behind exclamations like
“you can’t blame me” will never lead to a solution—especially
to the problem of violence in our society.
To confront the issues of violence in our society that stem from, and
are fueled by, violent television programming, we should consider several
factors. First, we should recognize that every action affects the rest
of society—including the action of not doing anything. Johnson
correctly identifies this communal responsibility, and rightly points
out that “we receive what we demand” and that we are responsible
for the “hell” (i.e. the violence) in our communities.
Second, we should address the issue of individual responsibility when
confronting the issue of violence. On one hand, individual responsibility
is important to consider because it’s easy to neglect our ability
and our responsibility to confront violence in our society. For example,
we can decrease the amount of violence in our society by not teaching
and showing children how to be violent. And this could be accomplished—according
to Centerwall’s article—by choosing not to subject preadolescent
children to violent television programming.
In addition, if you don’t like the effects of violent television
programming, you can take action by choosing not to consume it. If violence
stops selling, then violent programming will be replaced by something
else that will bring the viewers and advertising revenue back to the
television.
Furthermore, individual responsibility is important to address because
people often have a convoluted view of themselves when it comes to comprehending
their decision-making processes. Particularly, comprehending how their
decision-making processes are affected by the experiences and things
they are subjected to. As a result, people often do not comprehend how
they are influenced by the things they are subjected to, and the effects
of their actions have on others.
An example of a convoluted view of one’s self is thinking that
we are individuals that are impermeable to the things that are around
us and the things we watch on television. Such a convoluted view is
portrayed in the lyrics of Cookie Jar when one character exclaims “it’s
smoke machines and makeup man, you can’t fool me” when refuting
the claim that television programming contributes to violence. Although
the majority of television violence is created in a studio and is blatantly
fictitious, this does not mean that people who watch this factious violence
are not persuaded or inadvertently influenced by the things they see.
The character’s attempt to evade responsibility by appealing to
the fictitious nature of violence on the television is unfounded. It’s
not a matter of being fooled; it’s a matter of people being influenced
by what they watch. As long as people are influenced by television programming,
the creators of the programming are responsible for what they produce.
While, at the same time, those who choose to watch the programming are
equally responsible for the dispositions that they acquire through their
consumption of such media. In short, the producers are responsible because
they chose to produce it, and the viewers are responsible because they
choose to view it.
We are heavily influenced by the things we do and the things we are
subjected to, and we are responsible for the person that we become after
choosing to subject ourselves to different things and experiences. Accordingly,
the exclamation “you can’t blame me” that comes from
the producers of violent television programming who are attempting to
evade responsible for the things they produce, is ethically flawed.
And, the exclamation “you can’t blame me” that comes
from those who are attempting to evade responsibility for acting violently,
is also ethically flawed. In addition, the exclamation “you can’t
fool me” is also ethically flawed when it is employed by those
attempting to defend the status quo of television programming by arguing
that people are not affected by fictitious violence.
In closing, it’s helpful to contemplate the lyrics of “Cookie
Jar” in conjunction with Centerwall’s article, because it
remind us that we are responsible for what we do and what we subject
ourselves to. In addition, Johnson and Centerwall correctly point out
that failing to take responsibility for violence in our society will
do nothing but perpetuate the problem.
The current level of violence in our society is something that has been
created by past actions, and sustained and perpetuated by our current
choices and actions. Thus, we should take responsibility and take action
against violence in our society, because violence is a human convention.
In sum, we should take action to stop violence, because violence is
not going to stop itself.
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