Television Violence Quotes

Violence and smut are of course everywhere on the airwaves. You cannot turn on your television without seeing them, although sometimes you have to hunt around.

The problem with our society is that our values aren’t in the right place. There’s an awful lot of bleeding and naked bodies on prime-time networks, but not nearly enough cable television on public programming.

Pundits are always blaming TV for making people stupid, movies for desensitizing the world to violence, and rock music for making kids take drugs and kill themselves. These things should be the least of our worries. The main problem with mass media is that it makes it impossible to fall in love with any acumen of normalcy. There is no 'normal,' because everybody is being twisted by the same sources simultaneously.

Must we vampires always resort to violence so quickly? Could we not just all sit down over a "refreshing Bud Light" and "just chill," as my television and my teammates relentlessly urge me to do?

I believe that sanitizing this aspect of the modern and ancient world is at the root of our troubles as a culture now. We're bred to be smug about how peaceful we are, so we can watch television and feel safely distant from violence, when it is part of our makeup. That smugness means we don't feel we have to do anything about the violence we see, because it's obviously committed by people who aren't as educated or civilized as we are. By holding ourselves aloof from global and historical violence, we allow it to continue. If we are ever to survive as a species, we need to admit we are violent and find ways to ease the plight of the victims of violence worldwide. (No, invading a violent country and bombing it will not inspire its people to give violence up. Go figure.) We must face who we are and what creates violence: helplessness, envy, rage, even the drive to grab the good things of the world that are flaunted in the faces of the poor. We must take responsibility and protect each other from violence.

In it's purest form, an act of retribution provides symmetry. The rendering payment of crimes against the innocent. But a danger on retaliation lies on the furthering cycle of violence. Still, it's a risk that must be met; and the greater offense is to allow the guilty go unpunished.

The amount of educational programming on television today is simply desensitizing. The only reason left to go to school is to see gun violence.

I want you to write like Alice Munro.  Stir the world.  Make people see the horror; show them their suffering relatives; show them that they’re not safe.  Let them know that they can’t even begin to imagine what’s happening here.  By making my reality more compelling than reality television is the only way you’ll get their attention. Psychotic and cynical. Who can tell the difference anymore between a severed head and a special effect?  Can you?  I doubt it, and I know you’ve been in the middle of it all and seen the damage first-hand.

Books are completely disappearing. Remember in Fahrenheit 451 where the fireman's wife was addicted to interactive television and they sent fireman crews out to burn books? That mission has been largely accomplished in middle-class America and they didn't need the firemen. The interactive electronics took care of it without the violence,

Too much and too long, we seem to have surrendered community excellence and community values in the mere accumulation of material things. Our gross national product...if we should judge the United States of America by that - counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for those who break them. It counts the destruction of our redwoods and the loss of our natural wonder in chaotic sprawl. It counts napalm and the cost of a nuclear warhead, and armored cars for police who fight riots in our streets. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education, or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages; the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage; neither our wisdom nor our learning; neither our compassion nor our devotion to our country; it measures everything, in short, except that which makes life worthwhile. And it tells us everything about America except why we are proud that we are Americans.

Ted Turner said: “Television violence is the single most significant factor contributing to violence in America.

Terrorism” is a word that has become a plague on our vocabulary, the excuse and reason and moral permit for state-sponsored violence— our violence—which is now used on the innocent of the Middle East ever more outrageously and promiscuously. Terrorism, terrorism, terrorism. It has become a full stop, a punctuation mark, a phrase, a speech, a sermon, the be-all and end-all of everything that we must hate in order to ignore injustice and occupation and murder on a mass scale. Terror, terror, terror, terror. It is a sonata, a symphony, an orchestra tuned to every television and radio station and news agency report, the soap-opera of the Devil, served up on prime-time or distilled in wearyingly dull and mendacious form by the right-wing “commentators” of the American east coast or the Jerusalem Post or the intellectuals of Europe. Strike against Terror. Victory over Terror. War on Terror. Everlasting War on Terror. Rarely in history have soldiers and journalists and presidents and kings aligned themselves in such thoughtless, unquestioning ranks.

Even the most outspoken of the critics must admit that long before we had print and film media to "spread the word," mankind was engaged in all forms of cruel and despicable behavior. To attribute war, killing, and violence to film, TV, and role-play games is to fly in the face of thousands of years of recorded history.

Once again, the point of this discussion is not to accuse Christians of endorsing torture and persecution. Of course most devout Christians today are thoroughly tolerant and humane people. Even those who thunder from televised pulpits do not call for burning heretics alive or hoisting Jews on the strappado. The question is why they don’t, given that their beliefs imply that it would serve the greater good. The answer is that people in the West today compartmentalize their religious ideology. When they affirm their faith in houses of worship, they profess beliefs that have barely changed in two thousand years. But when it comes to their actions, they respect modern norms of nonviolence and toleration, a benevolent hypocrisy for which we should all be grateful.

I don’t get you people. You watch the Godfather on television and tons of people are getting shot and stabbed to death, blood splattering everywhere and it is entertaining. But, when they killed a horse, people were outraged.

He's like everybody else in television. And Hollywood. And Broadway. He thinks everything sentimental is tender, everything brutal is a slice of realism and that everything that runs into physical violence is a legitimate climax to something that isn't even-

So you're a fellow mercenary, then." "Does this mean you'll afford me some professional courtesy?" "Don't ask for that. All it means is that you might get to face the person who kills you. . . But only if it's convenient.

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.

Through TV people turn their family living rooms into meditative dens of death and violence worship.

unrelenting emotional affrontations and attacks (mental and emotional rape) by way of a constant barrage of sex, violence, and wars in the media — especially the T.V. and the newspapers.

(On a personal note, even though I have a professional interest in hazard and risk, I never watch the local television news and haven’t for years. Try this and you’ll likely find better things to do before going to sleep than looking at thirty minutes of disturbing images presented with artificial urgency and the usually false implication that it’s critical for you to see it.)

Another struggle has been the struggle to keep the value of a local and particular character, of a particular culture in this awful maelstrom, this awful avalanche toward uniformity. The whole fight is for the conservation of the individual soul. The enemy is the supression of history; against us is the bewildering propaganda and brainwash, luxury and violence. Sixty years ago, poetry was the poor man’s art: a man off on the edge of the wilderness, or Frémont, going off with a Greek text in his pocket. A man who wanted the best could have it on a lonely farm. Then there was the cinema, and now television.

You know, who tells the stories of a culture really governs human behaviour. It used to be the parent, the school, the church, the community. Now it's a handful of global conglomerates that have nothing to tell, but a great deal to sell.

In this image-driven age, wildlife filmmakers carry a heavy responsibility. They can influence how we think and behave when we’re in nature. They can even influence how we raise our kids, how we vote and volunteer in our communities, as well as the future of our wildlands and wildlife. If the stories they create are misleading or false in some way, viewers will misunderstand the issues and react in inappropriate ways. People who consume a heavy diet of wildlife films filled with staged violence and aggression, for example, are likely to think about nature as a circus or a freak show. They certainly won’t form the same positive connections to the natural world as people who watch more thoughtful, authentic, and conservation-oriented films.

There just seems to be too much violence everywhere, even the news can't help break now and then on TV

90 percent reduction in violence among the boys who had television and video games removed,

New Rule: The White House doesn't have to release the dead Bin Laden photos, but don't pretend we can't take it. We've seen pictures of Britney Spears's vagina getting out of a car. Television has desensitizes us to violence, and porn has desensitized us to people getting shot in the eye.

The people I know who are rebelling meaningfully, you know, don't buy a lot of stuff and don't get their view of the world from television and are willing to spend four, five hours researching an election rather than commercials. The thing about it is that in America, we think of rebellion as this very sexy thing and that it involves action and force and looks good. My guess is that any form of rebellion that will change things meaningfully here will be very quiet and very individual and probably not all that interesting to look at from the outside...Violence is interesting. Horrible corruption and scandals and rattling sabers and talking about war and demonizing a billion people of a different faith in the world—those are all interesting. Sitting in a chair and really thinking about what this all means and why the fact that what I drive might have something to do with how people in other parts of the world think about me isn't interesting to anybody else.

I live in a country built on celebritizing its citizens’ grief and amplifying stories of violence and assault for political gain, click counts, or television ratings. Let me be emphatically clear: They. Don’t. Care. About. Us. People who live through sexual assault are a crash on the side of the road, and the American media is nothing more than cars slowing down just long enough to take a peek.

A statement: children who watch violent TV programmes tend to be more violent when they grow up. But did the TV cause the violence, or do violent children preferentially enjoy watching violent programmes? Very likely both are true. Commercial defenders of TV violence argue that anyone can distinguish between television and reality. But Saturday morning children’s programmes now average 25 acts of violence per hour. At the very least this desensitizes young children to aggression and random cruelty. And if impressionable adults can have false memories implanted in their brains, what are we implanting in our children when we expose them to some 100,000 acts of violence before they graduate from elementary school?

5. Aware of the suffering caused by unmindful consumption, I vow to cultivate good health, both physical and mental, for myself, my family, and my society by practicing mindful eating, drinking, and consuming. I vow to ingest only items that preserve peace, well-being, and joy in my body, in my consciousness, and in the collective body and consciousness of my family and society. I am determined not to use alcohol or any other intoxicant or to ingest foods or other items that contain toxins, such as certain TV programs, magazines, books, films, and conversations. I am aware that to damage my body or my consciousness with these poisons is to betray my ancestors, my parents, my society, and future generations. I will work to transform violence, fear, anger, and confusion in myself and in society by practicing a diet for myself and for society. I understand that a proper diet is crucial for self-transformation and for the transformation of society.

It is also true that one satiric stunt on US television featured a fake severed head of Trump himself, but in that case the (female) comedian concerned lost her job as a consequence. By contrast, this scene of Perseus-Trump brandishing the dripping, oozing head of Medusa-Clinton was very much part of the everyday, domestic American decorative world. You could buy it on T-shirts and tank tops, on coffee mugs, on laptop sleeves and tote bags (sometimes with the logo TRIUMPH, sometimes TRUMP). It may take a moment or two to take in that normalisation of gendered violence, but if you were ever doubtful about the extent to which the exclusion of women from power is culturally embedded or unsure of the continued strength of classical ways of formulating and justifying it – well, I give you Trump and Clinton, Perseus and Medusa, and rest my case.

He's tried to explain this a couple of times to a few of his buddies after about five beers. Like listen, listen. Imagine you live in this country, right? And there's a brutal war, and you witness and maybe participate in a horrific amount of violence, and you lose absolutely everyone you care about. Then you end up in this other country, where the culture and ways of doing things are completely foreign to you, and random assholes make fun of you for how you dress and act and talk while you're still coming to grips with the fact that everyone you love is gone and you can never go home again. Meanwhile, everyone around you is like "smile, motherfucker, you're in the Land of Plenty now, where there's a Starbucks on every corner and 500 channels on TV. You should be grateful! Why aren't you acting more grateful?" So you have to pretend to be grateful while you're dying inside. Sound like an traumatized, orphaned refugee? Also sounds like Steve fucking Rogers, Captain Goddamn America. Except that most refugees were part of a community of other people who were going through the same thing. Steve is all alone, the last damn unicorn, if the last unicorn had horrible screaming nightmares about the time when it helped to liberate Buchenwald.

the fact that a police officer on TV said what used to be a fist fight or road rage is now a shooting, and what used to be a domestic dispute is now a gun rampage, and what used to be a tardy or disruptive student is now a school shooter, the fact that the police aren’t much better themselves, the fact that what used to be an arrest or a warning is now a split-second execution

Not only are the male students drawn to violence (at second hand), they are also quite totalitarian-minded, even for Americans, and I am convinced that any attractive television personality who wanted to become our dictator would have their full support.

Even though some individual scholars try to tell us there is no direct connection between images of violence and the violence confronting us in our lives, the commonsense truth remains- we are affected by the images we consume and by the states of mind we are in when watching them. If consumers want to be entertained, and the images shown us as entertaining are images of violent dehumanization, it makes sense that these acts become more acceptable in our daily lives and that we become less likely to respond to them with moral outrage or concern. Were we all seeing more images of loving human interaction, it would undoubtedly have a positive impact on our lives.

Years ago, I was yapping to my mother about Buffy and Xena and talking about how great it is that we now have these TV shows about such strong female characters. My mother, who admittedly has never watched either show, asked me if these really WERE strong female characters, or if they were merely male characters with boobs. Having a blonde cheerleader save the world with her martial arts skills doesn't equal feminism, she said. That's a male tactic. How about her saving the day using tactics that aren't all about punching and kicking and killing? I didn't have an answer for her then. I still don't, even now. There's a whole debate to be had that I'm just not ready for, that I may never be ready for. My mother is a pacifist. I am not. We see the world differently, we operate differently, even though we want the same things. We both want equality and peace. My mother is the sort to talk her way to equality and peace. I'm the sort to talk to the point where I reckon more talk won't do any good, and then smash my way through to an understanding. It is not an enlightened viewpoint I hold. It is a crass, brutish viewpoint — but in a crass, brutish world, I believe my way is the way to go. Mum believes otherwise. And that's the difference, I think, between us. We live in a world carved by men, where fear and oppression and violence are a part of our lives. I can't even IMAGINE a world sculpted by women, where other values have taken hold. I'm limited in that way. I could try not to be, but I honestly wouldn't know where to start. That's kind of sad, when you think about it. For all my imagination, I can't even imagine that... ... (turns to stare hauntingly out the window).

There is the past and its continuing horrors: violence, war, prejudices against those who are different, outrageous monopolization of the good earth’s wealth by a few, political power in the hands of liars and murderers, the building of prisons instead of schools, the poisoning of the press and the entire culture by money. It is easy to become discouraged observing this, especially since this is what the press and television insist that we look at, and nothing more.

The racial problems that consumed Guitar were the most boring of all. He wondered what they would do if they didn't have black and white problems to talk about. Who would they be if they couldn't describe the insults, the violence, and oppression that their lives (and the television news) were made up of? If they didn't have Kennedy or Elijah to quarrel about? They excused themselves for everything. Every job of work undone, every bill unpaid, every illness, every death was The Man's fault. And Guitar was becoming just like them—except he made no excuse for himself—just agreed, it seemed to Milkman, with every grievance he heard.

In 75 percent of the television programs shown during hours when American children are most likely to be watching, the hero either kills people or beats them up. This violence typically constitutes the “climax” of the show. Viewers, having been taught that bad guys deserve to be punished, take pleasure in watching this violence.

Lizzie and I arrived in the polluted heat of a London summer. We stood frozen at street corners as a blur of pedestrians burst out of the subways and spilled like ants down the pavements. The crowed bars, the expensive shops, the fashionable clothes - to me it all seemed a population rushing about to no avail...I stared at a huge poster of a woman in her underwear staring down at her own breasts. HELLO BOYS, she said. At the movies we witnessed sickening violence, except that this time we held tubs of popcorn between our legs and the gunfire and screams were broadcast in digital Dolby. We had escaped a skull on a battlefield, only to arrive in London, where office workers led lines of such tedium and plenty that they had to entertain themselves with all the f****** and killing on the big screen. So here then was the prosperous, democratic and civilized Western world. A place of washing machines, reality TV, Armani, frequent-flier miles, mortgages. And this is what the Africans are supposed to hope for, if they're lucky.

Young people spend more than seven hours a day with a variety of different media, but despite all of these new media, TV predominates, even for teenagers

Society remains uneasy with female strength of any stripe and still prefers and champions delicate damsels—an outdated sentiment that limits all women. But because the damsel’s face is still viewed as unequivocally white and female, it is a particular problem for black women. As long as vulnerability and softness are the basis for acceptable femininity (and acceptable femininity is a requirement for a woman’s life to have value), women who are perpetually framed because of their race as supernaturally indestructible will not be viewed with regard. This may be why we so rarely see the black women who are victims of violence on true-crime television, despite the fact that black women are more likely to be victims of sexual violence and domestic homicidal violence.

Even if we act to erase material poverty, there is another greater task, it is to confront the poverty of satisfaction - purpose and dignity - that afflicts us all. Too much and for too long, we seemed to have surrendered personal excellence and community values in the mere accumulation of material things. Our Gross National Product, now, is over $800 billion dollars a year, but that Gross National Product - if we judge the United States of America by that - that Gross National Product counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of our natural wonder in chaotic sprawl. It counts napalm and counts nuclear warheads and armored cars for the police to fight the riots in our cities. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to our country, it measures everything in short, except that which makes life worthwhile. And it can tell us everything about America except why we are proud that we are Americans. If this is true here at home, so it is true elsewhere in world.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

The first school shooting that attracted the attention of a horrified nation occurred on March 24, 1998, in Jonesboro, Arkansas. Two boys opened fire on a schoolyard full of girls, killing four and one female teacher. In the wake of what came to be called the Jonesboro massacre, violence experts in media and academia sought to explain what others called “inexplicable.” For example, in a front-page Boston Globe story three days after the tragedy, David Kennedy from Harvard University was quoted as saying that these were “peculiar, horrible acts that can’t easily be explained.” Perhaps not. But there is a framework of explanation that goes much further than most of those routinely offered. It does not involve some incomprehensible, mysterious force. It is so straightforward that some might (incorrectly) dismiss it as unworthy of mention. Even after a string of school shootings by (mostly white) boys over the past decade, few Americans seem willing to face the fact that interpersonal violence—whether the victims are female or male—is a deeply gendered phenomenon. Obviously both sexes are victimized. But one sex is the perpetrator in the overwhelming majority of cases. So while the mainstream media provided us with tortured explanations for the Jonesboro tragedy that ranged from supernatural “evil” to the presence of guns in the southern tradition, arguably the most important story was overlooked. The Jonesboro massacre was in fact a gender crime. The shooters were boys, the victims girls. With the exception of a handful of op-ed pieces and a smattering of quotes from feminist academics in mainstream publications, most of the coverage of Jonesboro omitted in-depth discussion of one of the crucial facts of the tragedy. The older of the two boys reportedly acknowledged that the killings were an act of revenge he had dreamed up after having been rejected by a girl. This is the prototypical reason why adult men murder their wives. If a woman is going to be murdered by her male partner, the time she is most vulnerable is after she leaves him. Why wasn’t all of this widely discussed on television and in print in the days and weeks after the horrific shooting? The gender crime aspect of the Jonesboro tragedy was discussed in feminist publications and on the Internet, but was largely absent from mainstream media conversation. If it had been part of the discussion, average Americans might have been forced to acknowledge what people in the battered women’s movement have known for years—that our high rates of domestic and sexual violence are caused not by something in the water (or the gene pool), but by some of the contradictory and dysfunctional ways our culture defines “manhood.” For decades, battered women’s advocates and people who work with men who batter have warned us about the alarming number of boys who continue to use controlling and abusive behaviors in their relations with girls and women. Jonesboro was not so much a radical deviation from the norm—although the shooters were very young—as it was melodramatic evidence of the depth of the problem. It was not something about being kids in today’s society that caused a couple of young teenagers to put on camouflage outfits, go into the woods with loaded .22 rifles, pull a fire alarm, and then open fire on a crowd of helpless girls (and a few boys) who came running out into the playground. This was an act of premeditated mass murder. Kids didn’t do it. Boys did.

Our media, which are like a planetary nervous system, are far more sensitive to breakdowns than to breakthroughs. They filter out our creativity and successes, considering them less newsworthy than violence, war, and dissent. When we read newspapers and watch television news, we feel closer to a death in the social body than to an awakening. Yes, something is dying; however, the media do not recognize that something is also being born.

But we can’t ignore our social needs either. We have to stop people from abusing the welfare system. We have to provide food and shelter for the homeless and oppose racial discrimination and promote civil rights while also promoting equal rights for women but change the abortion laws to protect the right to life yet still somehow maintain women’s freedom of choice. We also have to control the influx of illegal immigrants. We have to encourage a return to traditional moral values and curb graphic sex and violence on TV, in movies, in popular music, everywhere. Most importantly we have to promote general social concern and less materialism in young people.

Sometimes when I'm writing a superhero story I wonder if they really have to punch each other in the face. Is that really going to solve anything? I feel the same way sometimes when I watch episodes of Law & Order. I'm like, "Yeah, right. You found the sex offender and now everything is fine." TV is big on closure, but I think closure is horseshit in real life. I'm still haunted by stuff I did in my teen years when I think about it too much.

It is otherwise with sports and the media. There, too, a shift has occurred, from active participation to the vicarious participation of spectatorship. Four people used to go bowling, but 100 million watch the Super Bowl. Football, where men try to hit and hurt, has replaced baseball as the national game. It is as if the demotion from participant to spectatorship and from live spectatorship to TV spectatorship has to be compensated by upping the ante in violence.

For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.

I’m not a man, I can’t earn a living, buy new things for my family. I have acne and a small peter. I’m not a man. I don’t like football, boxing and cars. I like to express my feeling. I even like to put an arm around my friend’s shoulder. I’m not a man. I won’t play the role assigned to me- the role created by Madison Avenue, Playboy, Hollywood and Oliver Cromwell, Television does not dictate my behavior. I’m not a man. Once when I shot a squirrel I swore that I would never kill again. I gave up meat. The sight of blood makes me sick. I like flowers. I’m not a man. I went to prison resisting the draft. I do not fight when real men beat me up and call me queer. I dislike violence. I’m not a man. I have never raped a woman. I don’t hate blacks. I do not get emotional when the flag is waved. I do not think I should love America or leave it. I think I should laugh at it. I’m not a man. I have never had the clap. I’m not a man. Playboy is not my favorite magazine. I’m not a man. I cry when I’m unhappy. I’m not a man. I do not feel superior to women I’m not a man. I don’t wear a jockstrap. I’m not a man. I write poetry. I’m not a man. I meditate on peace and love. I’m not a man. I don’t want to destroy you

On the one hand, Klaus, surely the only man in Topeka outfitted in white linen, could not take these kids—with their refrigerators full of food, their air-conditioning and television, their freedom from stigma or state violence—seriously; what could be more obvious than the fact that they did not know what suffering was, that if they suffered from anything it was precisely this lack of suffering, a kind of neuropathy that came from too much ease, too much sugar, a kind of existential gout?

What happened? Stan repeats. To us? To the country? What happened when childhood ends in Dealey Plaza, in Memphis, in the kitchen of the Ambassador, your belief your hope your trust lying in a pool of blood again? Fifty-five thousand of your brothers dead in Vietnam, a million Vietnamese, photos of naked napalmed children running down a dirt road, Kent State, Soviet tanks roll into Prague so you turn on drop out you know you can't reinvent the country but maybe you reimagine yourself you believe you really believe that you can that you can create a world of your own and then you lower that expectation to just a piece of ground to make a stand on but then you learn that piece of ground costs money that you don't have. What happened? Altamont, Charlie Manson, Sharon Tate, Son of Sam, Mark Chapman we saw a dream turn into a nightmare we saw love and peace turn into endless war and violence our idealism into realism our realism into cynicism our cynicism into apathy our apathy into selfishness our selfishness into greed and then greed was good and we Had babies, Ben, we had you and we had hopes but we also had fears we created nests that became bunkers we made our houses baby-safe and we bought car seats and organic apple juice and hired multilingual nannies and paid tuition to private schools out of love but also out of fear. What happened? You start by trying to create a new world and then you find yourself just wanting to add a bottle to your cellar, a few extra feet to the sunroom, you see yourself aging and wonder if you've put enough away for that and suddenly you realize that you're frightened of the years ahead of you what Happened? Watergate Irangate Contragate scandals and corruption all around you and you never think you'll become corrupt but time corrupts you, corrupts as surely as gravity and erosion, wears you down wears you out I think, son, that the country was like that, just tired, just worn out by assassinations, wars, scandals, by Ronald Reagan, Bush the First selling cocaine to fund terrorists, a war to protect cheap gas, Bill Clinton and realpolitik and jism on dresses while insane fanatics plotted and Bush the Second and his handlers, a frat boy run by evil old men and then you turn on the TV one morning and those towers are coming down and the war has come home what Happened? Afghanistan and Iraq the sheer madness the killing the bombing the missiles the death you are back in Vietnam again and I could blame it all on that but at the end of the day at the end of the day we are responsible for ourselves. We got tired, we got old we gave up our dreams we taught ourselves to scorn ourselves to despise our youthful idealism we sold ourselves cheap we aren't Who we wanted to be.

Sex is one of the situations where all things submerged in our subconscious come out, all fears, all desires, all the violence, and all the needs. That's why sex, in my opinion, is never as easy as television shows or jokes present it to be. We are often told that taking pleasure, especially from sex, and surrendering to it are things that happen naturally, gestures that come for free. I find it harder, instead, to learn how to surrender than to learn how to resist. That's exactly what my characters suffer from: the difficulty of covering the distance between desires and their fulfillments, the difficulty of doing "easy" things, such as kissing a girl or lying in bed with her, difficulties that are not only due to external causes, but also often to internal ones.

and low-life cable network producers, who have never had a thought in their heads that did not come from something else they saw on cable television, are so unthreatened by me that they feel safe stealing my stuff and claiming to have had sudden strokes of genius.

Pundits are always blaming TV for making people stupid, movies for desensitizing the world to violence, and rock music for making kids take drugs and kill themselves. These things should be the least of our worries. The main problem with mass media is that it makes it impossible to fall in love with any acumen of normalcy. There is no “normal,” because everybody is being twisted by the same sources simultaneously. You can’t compare your relationship with the playful couple who lives next door, because they’re probably modeling themselves after Chandler Bing and Monica Geller. Real people are actively trying to live like fake people, so real people are no less fake. Every comparison becomes impractical. This is why the impractical has become totally acceptable; impracticality almost seems cool.

It was also the content. Trump sold hate, violence, xenophobia, racism, and ignorance, which oddly enough had long been permissible zones of exploration for American television entertainment. And the news media was becoming more and more indistinguishable from entertainment media. Meanwhile,

American culture has regressed because of contemporary society’s glorification of making a good living and spending free time in media activities rather than constantly devoting themselves to a learning and self-improvement. The combination of grooming youngsters to fit into a commercial workplace and Americans willingness to submit themselves to endless hours of watching television shows filled with murders, violence, sex, and replete with advertisements that promote the goods of commercial giants has eroded the American spirit and contributed to lack of an intellectually sophisticated populous.

Now, are you familiar with the Lord of the Rings?” Molech hesitated again, realizing he was playing someone else’s game, but with no idea what else to do. He said, “Yeah, old horror movie about a ghost girl who crawls out of a television?” “No, this is the one with wizards and elves. Ends with the midgets fighting in a volcano? It

Most people don’t get (or want) to look at old news footage, but we looked at thirty years of stories relating to motherhood. In the 1970s, with the exception of various welfare reform proposals, there was almost nothing in the network news about motherhood, working mothers, or childcare. And when you go back and watch news footage from 1972, for example, all you see is John Chancellor at NBC in black and white reading the news with no illustrating graphics, or Walter Cronkite sitting in front of a map of the world that one of the Rugrats could have drawn–that’s it. But by the 1980s, the explosion in the number of working mothers, the desperate need for day care, sci-fi level reproductive technologies, the discovery of how widespread child abuse was–all this was newsworthy. At the same time, the network news shows were becoming more flashy and sensationalistic in their efforts to compete with tabloid TV offerings like A Current Affair and America’s Most Wanted. NBC, for example introduced a story about day care centers in 1984 with a beat-up Raggedy Ann doll lying limp next to a chair with the huge words Child Abuse scrawled next to her in what appeared to be Charles Manson’s handwriting. So stories that were titillating, that could be really tarted up, that were about children and sex, or children and violence–well, they just got more coverage than why Senator Rope-a-Dope refused to vote for decent day care. From the McMartin day-care scandal and missing children to Susan Smith and murdering nannies, the barrage of kids-in-jeopardy, ‘innocence corrupted’ stories made mothers feel they had to guard their kids with the same intensity as the secret service guys watching POTUS.

They were going to the house of a man who was shot dead. What was with all the exuberance? But maybe that was the only way you could move forward after mindlessly recording stories of brutality and violence for days on end? Maybe detachment was the only way. But if you could not be passionate about your job, what was the point in doing it?

This discourse of human rights, it's a very good format for TV--the great atrocity analysis and condemnation industry. Who comes out smelling sweet in the atrocity analysis? States have invested themselves with the right to legitimise violence--so who gets criminalised and delegitimised? The resistance. ... Human rights take the history out of justice. ... The idea of justice--even just dreaming of justice--is revolutionary. The language of human rights tends to accept a status quo that is intrinsically unjust--and then tries to make it more accountable. But then, of course, the catch-22 is that violating human rights is integral to the project of neoliberalism and global hegemony.

The interracial MFDP came to Atlantic City and requested to be seated in place of the regular Mississippi delegation, which everyone knew had been elected through fraud and violence. The MFDP’s electrifying vice chair, Fannie Lou Hamer, riveted the nation in her live televised testimony at the convention. “If the Freedom Democratic Party is not

air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of our natural wonder in chaotic sprawl. It counts napalm and counts nuclear warheads and armored cars for the police to fight the riots in our cities. It counts . . . the television programs which glorify violence in order to sell toys to our children. Yet the Gross National Product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to our country. It measures everything, in short, except that which makes life worthwhile. And it can tell us everything about America except why we are proud to be Americans.40

The whole country had gone through a spasm of shudders during those eight months, but she had hardly noticed. The marches, the cops in their crash helmets and gas masks, the mounting attacks on the press by Agnew, the Kent State shootings, the summer of violence as blacks and radical groups took to the streets—those things might have happened on some TV late show.

But what you do sense, what is unmistakable, is a rising tide of frustration and anger and violence, born partly of the greater familiarity the poor today have with the rich, their faces pressed to that clear window on wealth afforded by ubiquitous television, and partly of the change in mentality that results from an outward shift in the supply curve for firearms.

It is hard to understand why the modern West has been so much more troubled by sexual images than by violent ones. Murder has always been illegal in the West, but the representation of murder has rarely inspired the kind of hue and cry generated by the depiction of adults having sex. Those who claim that pornography will impel children to engage in sexual conduct seem not the least bit concerned that war stories and Westerns will encourage children to kill their neighbors. For all the talk of "sex and violence" on television, no one seems to blink at the amount of blood spilled in a boxing match, but one can only imagine the outcry that would follow if a similar amount of semen were shown in a bedroom scene of a daytime soap opera.

In fact, surveys show that the more people watch television, the more violent they judge the world to be. You might think that those who watch a lot of TV are simply better informed about the evils of the world. They’re not. They grossly over-estimate rates of violence. People who watch less TV are more accurate judges of the degree of risk we all might encounter each day.

Mass media is the food for our eyes, ears, and minds. When we watch television, read a magazine, watch a film, or play a video game, we are consuming sensory impressions. Many of the images we are exposed to through the media water unwholesome seeds of craving, fear, anger, and violence in our consciousness. The images, sounds, and ideas that are toxic can rob our body and consciousness of their well-being. If you feel anxious, fearful, or depressed, it may be because you have taken in too many toxins through your senses without even knowing it. Be mindful of what you watch, read, and listen to, and protect yourself from the fear, despair, anger, craving, anxiety, or violence they promote. The material goods they promise are only quick, temporary fixes.

The real danger wasn’t violence like you saw on the television news, random and exciting—the real danger was the vampiric kind, the sort that you invited in because it told you everything you wanted to hear. Charles Manson could never have been Charles Manson if there hadn’t been girls by the dozen, ready and willing, scarred by the silent cruelty behind those carefully locked doors.

The numbers really grew when we were at war, when all the fellas who used to be inside their homes watching TV saw that the action movies they were watching inside were actually happening outside, and so they came out of their homes to join the fun, because even though we were firing real guns, it was all a game for most of us. Scrooge, former leader of the Rebellion Raiders street gang that once boasted of having some ten thousand members

This week I was watching the Rachel Maddow Show (you'd love her: she's funny and brilliant and just happens to be a stunning butch), and she was interviewing the outgoing attorney general, Loretta Lynch, about the country's post election future. The entire show was like a burst of hope so bright I almost had to put on sunglasses. The African American attorney general, prim and plump, sat perched on a barstool talking to a white butch lesbian who has her own national television news show! The event was being recorded in the Stonewall Inn, the site of one of the first places where queer people fought back against police violence! (I was so nervous about being a lesbian in 1969, I hid the tiny newspaper clipping from you.) Simply that the interview was happening made me remember that there are people in the world who are not such egotistical, political careerists as to believe that human rights don't matter. Then, as if just showing up wasn't enough, Attorney General Lynch spoke a truth that is hard to remember from our short-lived perspective: "History is bigger than one turn of the electoral wheel." During your eighty-eight years on this plane, you saw numerous turns of the wheel, and many of them did not land on a prize. Still, toward the end of your life, you took me in and bestowed not just a roof and clothes and food but the gift of your history and the knowledge that we find hope inside ourselves.

What’s most disappointing to me was that none of the adults in my life stepped in to stop any of this. In fact, they implicitly encouraged it. We were “toughening up,” “becoming men,” or “just being boys.” And this message was reinforced everywhere that I looked. On TV, in movies, in video games, men were supposed to enjoy violence. The more violence they could endure, the more violence they could do to others, the better. Is it any surprise that men are so violent in our culture, when we are raised this way?

An empath has a great tendency to pick up others’ emotions and project them back without recognizing its source in the first place. For a learning empath, it is vital to talk things out in order to release emotions. Empaths ultimately develop a stronger, higher level of understanding, enabling themselves to find peace in any situation. The consequence to this is that they tend to bottle up their emotions and build sky-high barriers so as to not let other people know their deepest, innermost thoughts and feelings. This suppression of emotional expression can be one of the direct results of an expressionless upbringing, a traumatic experience, or perceiving the notion that “Children are only meant to be seen, not heard” early in their lives. Most empaths are sensitive to news, TV, movies, broadcasts and videos. Violence and dramas portraying shocking scenes of emotional or physical pain inflicted on children, women, animals and adults can easily bring empaths to tears, although they try to hold back the tears at times.

holes BY LOUIS SACHAR “Nearly everything in the room was broken; the TV, the pinball machine, the furniture. Even the people looked broken, with their worn out bodies sprawled over the various chairs and sofas.” (p.43) This is Stanley’s view of the “wreck room” at Camp Green Lake. It is the one place the boys are allowed to relax somewhat and they have trashed it. The inhumanity of the camp has possessed the boys. Stanley sees this room as a reminder that the boys have the capacity for violence, and he does not want to mess with the other campers.

NOT ALL VIOLENCE is hot. There’s cold violence, too, which takes its time and finally gets its way. Children going to school and coming home are exposed to it. Fathers and mothers listen to politicians on television calling for their extermination. Grandmothers have no expectation that even their aged bodies are safe: any young man may lay a hand on them with no consequence. The police could arrive at night and drag a family out into the street. Putting a people into deep uncertainty about the fundamentals of life, over years and decades, is a form of cold violence.

Oh, lady, there aren’t words for it. I don’t know—it’s the difference between a pair of roller skates and a Ferrari—ah, there aren’t words.’ ‘I think the lady doth protest too much. You wouldn’t promote such blatant lesbian propaganda if you were sure of yourself and your sexual identity.’ ‘Propaganda? I took a few minutes to try to answer a question you asked me. If you want to see blatant propaganda then look at the ads in the subways, magazines, t.v., everywhere. The big pigs use heterosexuality and women’s bodies to sell everything in this country—even violence. Damn, you people are so bad off you got to have computers to match you up these days.’ Polina began to get angry, but then she took some time to think about what I had laid on her. ‘I never thought of it that way, I mean about advertising and all.’ ‘Well, I sure have. You don’t see ads of women kissing to get you to buy Salem cigarettes, do you?’ She laughed. ‘That’s funny, that’s truly funny. Why the entire world must look different to you.’ ‘It does. It looks destructive, diseased, and corroded. People have no selves anymore (maybe they never had them in the first place) so their home base is their sex—their genitals, who they fuck. It’s enough to make a chicken laugh.’ ‘I—are all homosexuals as perceptive as you?

The introduction of Christianity in Iceland was attended by no violence. While in the other countries mentioned above the monarchical form of government prevailed, and the people were compelled by their rulers to accept the gospel of Christ, the Icelanders enjoyed civil liberty, had a democratic form of government, and accepted the new religion by the vote of their representatives in the Althing, or Parliament, which convened at Thingvolls in the summer of 1000; and in this way we are able to account for all the heathen and vernacular literature that was put into writing and preserved for us by that remarkable people, who inhabited the island of the icy sea.

Propaganda is an important weapon of the fascist state. TV and the media are filled with clandestine agents, some posing as liberal writers, whose purpose is to break the credibility of researchers or discredit evidence that would confirm conspiracies.1 Colleges and academic institutions offer no courses on agents provocateurs or how to recognize covert operations.2 When an accurate history of the violence in the 1960’s and ’70’s is written, facts will reveal that government provocateurs created most of it. A series of our own Reichstag fires was the justification for a sweeping domestic operations program designed to deny liberties guaranteed by the Constitution.3

He said we had to find a way to reach Muslims who “didn’t think it was such a great thing to have a McDonald’s down the street and American pop culture on their television.” All people, he said, want to maintain their identity in the modern world. “We should acknowledge that not everything we see is positive—there’s a mindless violence, a crude sexuality, a lack of reverence for life, a glorification of materialism.” That said, he wanted to make several statements of belief in human progress—that countries succeed when they are tolerant of different religious beliefs; that governments that give voice to their people and respect the rule of law are more stable and satisfying; and that countries where women are empowered are more successful. “When I was a kid in Indonesia,” he said, “I remember seeing girls swimming outside all the time. No one covered their hair. That was before the Saudis started building madrassas.” This was a theme he’d come back to again and again. He told a story about how his mother once worked in Pakistan. She was riding on an elevator. Her hair was uncovered and her ankles were showing. Yet even though she was older, “this guy in the elevator with her couldn’t stand to be in that type of space with a woman who was uncovered. By the time the door opened he was sweating.” He paused for effect. “When men are that repressed, they do some crazy shit.

I told him it would be a week, seven to ten days to get a new line. He said through his teeth he needed an exact day. I gave him my supervisor's number. This whole time, his wife was in the kitchen wiping a clean counter. I was filling out the work orders and emailing my supervisor to give him a heads-up on a possible call from a member of every cable tech's favorite rage cult when his wife knocked on my van window. She stepped back and called me "ma'am." Which was nice. Her husband with the tucked-in polo shirt had asked my name and I told him Lauren. He heard Lawrence because it fit what he saw and asked if he could call me Larry. Guys like that use your name as a weapon. "Larry, explain to me why I had to sit around here from one to three waiting on you and you show up at 3:17. Does that seem like good customer service to you, Larry? And now you're telling me seven to ten days? Larry, I'm getting really tired of hearing this shit." Guys like that, it was safer to just let them think I was a man. She said she was sorry about him. I said, "It's fine." I said there really wasn't anything I could do. She blinked back the flood of tears she'd been holding since god knows when. She said, "It's just, when he has Fox, he has Obama to hate. If he doesn't have that . . . " She kept looking over her shoulder. She was terrified of him. "I'm sorry," she said. "I just need him to have Fox." I got out of my van.

adult men enjoy having sex with one another, and they don’t harm anyone while doing so, why should it be wrong, and why should we outlaw it? It is a private matter between these two men, and they are free to decide about it according to their own personal feelings. If in the Middle Ages two men confessed to a priest that they were in love with one another, and that they had never felt so happy, their good feelings would not have changed the priest’s damning judgement – indeed, their lack of guilt would only have worsened the situation. Today, in contrast, if two men are in love, they are told: ‘If it feels good – do it! Don’t let any priest mess with your mind. Just follow your heart. You know best what’s good for you.’ Interestingly enough, today even religious zealots adopt this humanistic discourse when they want to influence public opinion. For example, every year for the past decade the Israeli LGBT community has held a gay pride parade in the streets of Jerusalem. It’s a unique day of harmony in this conflict-riven city, because it is the one occasion when religious Jews, Muslims and Christians suddenly find a common cause – they all fume in accord against the gay parade. What’s really interesting, though, is the argument they use. They don’t say, ‘These sinners shouldn’t hold a gay parade because God forbids homosexuality.’ Rather, they explain to every available microphone and TV camera that ‘seeing a gay parade passing through the holy city of Jerusalem hurts our feelings. Just as gay people want us to respect their feelings, they should respect ours.’ On 7 January 2015 Muslim fanatics massacred several staff members of the French magazine Charlie Hebdo, because the magazine published caricatures of the prophet Muhammad. In the following days, many Muslim organisations condemned the attack, yet some could not resist adding a ‘but’ clause. For example, the Egyptian Journalists Syndicate denounced the terrorists for their use of violence, but in the same breath denounced the magazine for ‘hurting the feelings of millions of Muslims across the world’.2 Note that the Syndicate did not blame the magazine for disobeying God’s will. That’s what we call progress.

Once, we were artists. Pure! But we, all of us, we became a distraction, compromised for the sake of fame, comfort, the approval of strangers. We spend our lives pursuing something as empty as `relevance' and they use our fear of losing it to corral us. Dirty Malaysian money. Saudi money. We'll take it all. What went wrong? We sing and dance not to entertain but to distract people from the crushing gears of a capitalist machine that has no ideals save for greed and violence. And let's not kid ourselves, Hollywood is the best PR firm the gunmakers ever had. What a sick culture." "But what about artistic beauty?" asked Cameron Diaz. "When you can perceive beauty there's no excuse for serving ugliness. For aiding cons, inflaming desires, promising everything and delivering nothing. It doesn't matter what you put on TV because people are so frightened and lonely they'll watch it just to hear human voices and feel like they're not alone. They're so beaten down all they need is a soccer tournament every four years and they stay in their place. This is not a society. This is a system of soul-murder. And history will not be kind to us for our complicity, because we know better. The executives"—he nodded Maoishly to the Disney team —"they can say they were serving their god Mammon, but we artists can't. We're all East German playwrights now, complicit with the regime! And there will come a time of judgment. We're destroying the planet. This cannot last.

Shortly after the Gulf War in 1992 I happened to visit a July Fourth worship service at a certain megachurch. At center stage in this auditorium stood a large cross next to an equally large American flag. The congregation sang some praise choruses mixed with such patriotic hymns as “God Bless America.” The climax of the service centered on a video of a well-known Christian military general giving a patriotic speech about how God has blessed America and blessed its military troops, as evidenced by the speedy and almost “casualty-free” victory “he gave us” in the Gulf War (Iraqi deaths apparently weren’t counted as “casualties” worthy of notice). Triumphant military music played in the background as he spoke. The video closed with a scene of a silhouette of three crosses on a hill with an American flag waving in the background. Majestic, patriotic music now thundered. Suddenly, four fighter jets appeared on the horizon, flew over the crosses, and then split apart. As they roared over the camera, the words “God Bless America” appeared on the screen in front of the crosses. The congregation responded with roaring applause, catcalls, and a standing ovation. I saw several people wiping tears from their eyes. Indeed, as I remained frozen in my seat, I grew teary-eyed as well - but for entirely different reasons. I was struck with horrified grief. Thoughts raced through my mind: How could the cross and the sword have been so thoroughly fused without anyone seeming to notice? How could Jesus’ self-sacrificial death be linked with flying killing machines? How could Calvary be associated with bombs and missiles? How could Jesus’ people applaud tragic violence, regardless of why it happened and regardless of how they might benefit from its outcome? How could the kingdom of God be reduced to this sort of violent, nationalistic tribalism? Has the church progressed at all since the Crusades? Indeed, I wondered how this tribalistic, militaristic, religious celebration was any different from the one I had recently witnessed on television carried out by Taliban Muslims raising their guns as they joyfully praised Allah for the victories they believed “he had given them” in Afghanistan?

In 1964, long-playing vinyl records sounded great. It was the age of high fidelity, and even your parents were likely to have a good-sounding console or tube components and a nice set of speakers, A&R, KLH, and so on. All the telephones worked, and they sounded good, too. Rarely did anyone ever lose a call, and that was usually on an overseas line. Anyone could work a TV set, even your grandmother. Off, on, volume, change the channel, period. By then, just about everyone had an aerial on the roof, and the signal was strong: ten, twelve simple channels of programming, not all good, but lots of swell black-and-white movies from the thirties and forties, all day and most of the night. No soul-deadening porn or violence. Decent news programs and casual entertainment featuring intelligent, charming celebrities like Steve Allen, Groucho Marx, Jack Paar, Jack Benny, Rod Serling, and Ernie Kovacs. Yeah, call me old Uncle Fuckwad, I don’t care. William Blake’s “dark Satanic mills” of the industrial revolution may have enslaved the bodies of Victorian citizens, but information technology is a pure mindfuck. The TV Babies have morphed into the Palm People. For example, those people in the audience who can’t experience the performance unless they’re sending instant videos to their friends: Look at me, I must be alive, I can prove it, I’m filming this shit. You know what? I refuse to look at you. You’re a corpse. And you prove that every day, with everything you do and everything you say. Wake up, ya dope! Outside

Why do we look to everyone else to see what to do? Why don't we understand that they're all as lost and scared as we are? Why do we look at a random consensus, shaped by opinions and powers that drift like dunes, as an absolute truth? If "normal" could change tomorrow, why are we such slaves to it? And where has "normal" gotten us, anyway? We live in a society that can't stop pollution or environmental destruction, that can't raise educational standards, can't stay healthy and non-obese, can't balance a budget, has no sense of fiscal responsibility, is in an economic tailspin, and is rife with crime and murder and violence. Most people in this "normal" society of ours begin sitting still in a room for six to eight hours beginning in childhood. They continue that for twelve years and then begin sitting still in a different room for another forty years, at which point they hope to retire and sit still in a chair in front of the TV until they die.

Having a TV—which gives you the ability to receive information—fails to establish any capacity for sending information in the opposite direction. And the odd one-way nature of the primary connection Americans now have to our national conversation has a profound impact on their basic attitude toward democracy itself. If you can receive but not send, what does that do to your basic feelings about the nature of your connection to American self-government? “Attachment theory” is an interesting new branch of developmental psychology that sheds light on the importance of consistent, appropriate, and responsive two-way communication—and why it is essential for an individual’s feeling empowered. First developed by John Bowlby, a British psychiatrist, in 1958, attachment theory was further developed by his protégée Mary Ainsworth and other experts studying the psychological development of infants. Although it applies to individuals, attachment theory is, in my view, a metaphor that illuminates the significance of authentic free-flowing communication in any relationship that requires trust. By using this new approach, psychologists were able to discover that every infant learns a crucial and existential lesson during the first year of life about his or her fundamental relationship to the rest of the world. An infant develops an attachment pathway based on different patterns of care and, according to this theory, learns to adopt one of three basic postures toward the universe: In the best case, the infant learns that he or she has the inherent ability to exert a powerful influence on the world and evoke consistent, appropriate responses by communicating signals of hunger or discomfort, happiness or distress. If the caregiver—more often than not the mother—responds to most signals from the infant consistently and appropriately, the infant begins to assume that he or she has inherent power to affect the world. If the primary caregiver responds inappropriately and/or inconsistently, the infant learns to assume that he or she is powerless to affect the larger world and that his or her signals have no intrinsic significance where the universe is concerned. A child who receives really erratic and inconsistent responses from a primary caregiver, even if those responses are occasionally warm and sensitive, develops “anxious resistant attachment.” This pathway creates children who feature anxiety, dependence, and easy victimization. They are easily manipulated and exploited later in life. In the worst case, infants who receive no emotional response from the person or persons responsible for them are at high risk of learning a deep existential rage that makes them prone to violence and antisocial behavior as they grow up. Chronic unresponsiveness leads to what is called “anxious avoidance attachment,” a life pattern that features unquenchable anger, frustration, and aggressive, violent behavior.

The Fifth Mindfulness Training Aware of the suffering caused by unmindful consumption, I am committed to cultivating good health, both physical and mental, for myself, my family, and my society, by practicing mindful eating, drinking, and consuming. I am committed to ingest only items that preserve peace, well-being, and joy in my body, in my consciousness, and in the collective body and consciousness of my family and society. I am determined not to use alcohol or any other intoxicant or to ingest foods or other items that contain toxins, such as certain TV programs, magazines, books, films, and conversations. I am aware that to damage my body or my consciousness with these poisons is to betray my ancestors, my parents, my society, and future generations. I shall work to transform violence, fear, anger, and confusion in myself and in society by practicing a diet for myself and for society. I understand that a proper diet is crucial for self-transformation and for the transformation of society.

Why do people feel guilty about TV? What is wrong with it? Just this-- that it shuts out all the wonderful things of which the mind is capable, leaving it drugged in a state of thoughtless stupor. For the same reason, a mediocre school or teacher is a bad school or teacher. Last week it was announced in the papers that a large convention concerned with violence and disorder in our schools came to the unanimous conclusion (students and teachers alike) that the main cause of the mischief was boredom. Underperformance, the job that does not challenge you, can make you sick: work that puts repetition and routine in the place of real work begets a sense of guilt; merely doodling and noodling in committees can give you ulcers, skin rashes, and heart trouble. God is not pleased with us for merely sitting in meetings: "How vain and trifling have been our spirits, our conferences, councils, our meetings, our private as well as public conversations," wrote the Prophet Joseph from Liberty Jail, "too low, too mean, too vulgar, too condescending for the dignified characters of the called and chosen of God.

Saul had seen the rash of demonic-children entertainments as a symptom of deeper underlying fears and hatreds; the “me-generation’s” inability to shift into the role of responsible parenthood at the cost of losing their own interminable childhood, the transference of guilt from divorce—the child is not really a child, but an older, evil thing, capable of deserving any abuse resulting from the adult’s selfish actions—and the anger of an entire society revolting after two decades of a culture dominated by and devoted to youthful looks, youth-oriented music, juvenile movies, and the television and movie myth of the adult-child inevitably wiser, calmer, and more “with-it” than the childish adults in the house hold. So Saul had lectured that the child-fear and child-hatred becoming visible in popular shows and books had its irrational roots in common guilts, shared anxieties, and the universal angst of the age. He had warned that the national wave of abuse, neglect, and callousness toward children had its historical antecedents and that it would run its course, but that everything possible must be done to avoid and eliminate that brand of violence before it poisoned America.

Ryan was complex—he was big-hearted and caring but also resolute and direct. He once e-mailed me an audio clip of a television news interview he gave after a group of Navy SEALs rescued the captain of the Maersk Alabama tanker ship. Pirates had taken the ship and the captain hostage off the coast of Somalia, Africa. The story was later made into the film Captain Phillips, starring Tom Hanks. A team of Navy SEAL snipers shot and killed all but one of the hostage takers, who had placed themselves and their hostage in a desperate situation. Ryan told the TV reporter, “Despite what your momma told you, violence does solve problems.”1 I understood exactly what Ryan meant—there was no diplomatic or political solution to the crisis, and allowing pirates to take American vessels and crews hostage would set a bad precedent in other parts of the globe. Weeks before, in fact, the pirates had killed other hostages. Ryan’s statement was in no way meant to be bravado; he was merely conveying the fact that many times violence brings about a successful conclusion to a hostage crisis. The SEALs spoke the only language that the Somali pirates understood: violence. Apparently, the SEALs’ response acted as a deterrent, since the Somali pirates have consequently stayed clear of US flagged vessels. Chris Kyle later turned Ryan’s statement into a patch he wore on his hat.

Our present system based on preparing children for individual upward mobility into the system by making “us” like “them” is destroying our communities because those who succeed in the system leave the community while those who don’t take out their frustration and sense of failure in acts of vandalism. It is leaving too many children behind, labeling too many as suffering from attention deficit disorder and therefore requiring Ritalin, and widening the gap between the very rich and the very poor. The main cause of youth violence and addiction to drugs, I believe, is youth powerlessness. We have turned young people into parasites with no socially necessary or productive roles, nothing to do for eighteen years but go to school, play, and watch TV. Rich and poor, in the suburbs and the inner city, they are, as Paul Goodman pointed out years ago, “Growing Up Absurd,”4 deprived of the natural and normal ways of learning the relationship between cause and effect, actions and consequences by which the species has survived and evolved down through the millennia. Then we wonder why teenagers lack a sense of social responsibility. Schoolchildren need to be involved in community-building activities from an early age, both to empower themselves and to transform their communities from demoralizing wastelands into sources of strength and renewal. Their heads work better when their hearts and hands are engaged.

Even if we act to erase material poverty, there is another greater task; it is to confront the poverty of satisfaction – purpose and dignity – that afflicts us all. Too much and for too long, we seemed to have surrendered personal excellence and community values in the mere accumulation of material things. Our Gross National Product, now, is over $800 billion a year, but that Gross National Product … counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of our natural wonder in chaotic sprawl. It counts napalm and counts nuclear warheads and armored cars for the police to fight the riots in our cities. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the Gross National Product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to our country. It measures everything in short, except that which makes life worthwhile.

Being raised evangelical in the Midwest gave me a personal experience of the phenomenon called “religious fundamentalism.” A story illustrates. When I was a boy in high school, I was interested in a girl from our church. It was an evangelical church, although some might have called it a bit fundamentalist—taking a hard line on cultural issues. But I took a chance and invited her to a movie, which was certainly frowned upon back then in our church culture (though my own parents snuck us out to Walt Disney movies at the drive-in, where we were unlikely to be spotted). I chose The Sound of Music, thinking it was “safe.” Who could object to Julie Andrews, I confidently thought? I was wrong. As we left the house, my girlfriend’s father stood in the doorway, blocking our exit, and said to his daughter, “If you go to this film, you’ll be trampling on everything that we’ve taught you to believe.” She fled downstairs to her bedroom in tears. We missed the movie, and the evening was a disaster. A year later, the fundamentalist father watched The Sound of Music on his television—and liked it. Fundamentalism is essentially a revolt against modernity. It is a reaction usually based on profound fear and defensiveness against “losing the faith.” My girlfriend’s father instinctively knew that his religion should make him different than the world. That is a fair religious point, and to be honest, there is much about modernity that deserves some revolting against. But I wish he had chosen to break with America at the point of its materialism, racism, poverty, or violence. Instead, he chose Julie Andrews.

While the overall systems of heterosexism and ableism are still with us, they have adapted in limited ways. These adaptations are held up as reassurance to those who fought long and hard for a particular change that equality has now been achieved. These milestones—such as the recognition of same-sex marriage, the passage of the Americans with Disabilities Act, Title 9, the election of Barack Obama—are, of course, significant and worthy of celebration. But systems of oppression are deeply rooted and not overcome with the simple passage of legislation. Advances are also tenuous, as we can see in recent challenges to the rights of LGBTQI (lesbian, gay, bisexual, transgender, queer or questioning, and intersex) people. Systems of oppression are not completely inflexible. But they are far less flexible than popular ideology would acknowledge, and the collective impact of the inequitable distribution of resources continues across history. COLOR-BLIND RACISM What is termed color-blind racism is an example of racism’s ability to adapt to cultural changes.3 According to this ideology, if we pretend not to notice race, then there can be no racism. The idea is based on a line from the famous “I Have a Dream” speech given by Dr. Martin Luther King in 1963 during the March on Washington for Jobs and Freedom. At the time of King’s speech, it was much more socially acceptable for white people to admit to their racial prejudices and belief in white racial superiority. But many white people had never witnessed the kind of violence to which blacks were subjected. Because the struggle for civil rights was televised, whites across the nation watched in horror as black men, women, and children were attacked by police dogs and fire hoses during peaceful protests and beaten and dragged away from lunch counters.

The dispersion of the daimonic by means of impersonality has serious and destructive effects. In New York City, it is not regarded as strange that the anonymous human beings secluded in single-room occupancies are so often connected with violent crime and drug addiction. Not that the anonymous individual in New York is alone: he sees thousands of other people every day, and he knows all the famous personalities as they come, via TV, into his single room. He knows their names, their smiles, their idiosyncrasies; they bandy about in a “we're-all-friends-together” mood on the screen which invites him to join them and subtly assumes that he does join them. He knows them all. But he himself is never known. His smile is unseen; his idiosyncrasies are important to no-body; his name is unknown. He remains a foreigner pushed on and off the subway by tens of thousands of other anonymous foreigners. There is a deeply depersonalizing tragedy involved in this. The most severe punishment Yahweh could inflict on his people was to blot out their name. “Their names,” Yahweh proclaims, “shall be wiped out of the book of the living.” This anonymous man's never being known, this aloneness, is transformed into loneliness, which may then become daimonic possession. For his self-doubts—“I don't really exist since I can't affect anyone” —eat away at his innards; he lives and breathes and walks in a loneliness which is subtle and insidious. It is not surprising that he gets a gun and trains it on some passer-by—also anonymous to him. And it is not surprising that the young men in the streets, who are only anonymous digits in their society, should gang together in violent attacks to make sure their assertion is felt. Loneliness and its stepchild, alienation, can become forms of demon possession. Surrendering ourselves to the impersonal daimonic pushes us into an anonymity which is also impersonal; we serve nature’s gross purposes on the lowest common denominator, which often means with violence.

When Malcolm X, who is considered the movement’s second-in-command, and heir apparent, points out that the cry of “violence” was not raised, for example, when the Israelis fought to regain Israel, and, indeed, is raised only when black men indicate that they will fight for their rights, he is speaking the truth. The conquests of England, every single one of them bloody, are part of what Americans have in mind when they speak of England’s glory. In the United States, violence and heroism have been made synonymous except when it comes to blacks, and the only way to defeat Malcolm’s point is to concede it and then ask oneself why this is so. Malcolm’s statement is not answered by references to the triumphs of the N.A.A.C.P., the more particularly since very few liberals have any notion of how long, how costly, and how heartbreaking a task it is to gather the evidence that one can carry into court, or how long such court battles take. Neither is it answered by references to the student sit-in-movement, if only because not all Negroes are students and not all of them live in the South. I, in any case, certainly refuse to be put in the position of denying the truth of Malcolm’s statements simply because I disagree with his conclusions, or in order to pacify the liberal conscience. Things are as bad as the Muslims say they are—in fact, they are worse, and the Muslims do not help matters—but there is no reason that black men should be expected to be more patient, more forbearing, more farseeing than whites; indeed, quite the contrary. The real reason that nonviolence is considered to be a virtue in Negroes—I am not speaking now of its racial value, another matter altogether—is that white men do not want their lives, their self-image, or their property threatened. One wishes they would say so more often. At the end of a television program on which Malcolm X and I both appeared, Malcolm was stopped by a white member of the audience who said, “I have a thousand dollars and an acre of land. What’s going to happen to me?” I admired the directness of the man’s question, but I didn’t hear Malcolm’s reply, because I was trying to explain to someone else that the situation of the Irish a hundred years ago and the situation of the Negro today cannot very usefully be compared.

Real Quick" [Intro:] Valuable lesson, man I had to grow up That's why I never ask for help I'll do it for you niggaz and do it for myself [Chorus:] I go 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga! [50 Cent:] I'll run my blade 'cross a nigga ass {"real quick"} I'm so for real I'm on some real real nigga shit You playin boy I'll get you hit {"real quick"} You better hope the parademics come {"real quick"} Got me fucked up you think it's different now a nigga rich Before I get to cuttin know you niggaz better cut the shit Boy, you gon' have ya head popped, pull a trigger for me And my lil' niggaz trigger op' like it's legal homie No game when I bang, boy I empty the clip You run like a bitch, you ain't 'bout that shit Hey hey hey hey, I'll catch you another day day day day It's the Unit back to the bullshit [Tony Yayo:] Yeah! Nothin in life is out of bounds AK hold about a hundred rounds 60 shots like K.D. at the Rucker's Okay! When I see you on respirators Southside nigga 'til the day I'm gone Indulge in the violence when the drama on Yeah, these rap niggaz lukewarm I'm two sleeves of dope, when the mic on [Chorus] [Kidd Kidd:] Real quick, Rida Gang fuck nigga, huh! Don't Tweet me, see me when you see me Down to make the news just to say that I'm on TV (Kidd Kidd) This clip rated R, niggaz PG Them shells burn like a bootleg CD (huh?) Fuck love, I want the money When you get too much of it they gon' say you actin funny "Kidd, how you feel now that the Unit's back?" Like a million bucks, muh'fucker do the math! [Young Buck:] Cold-blooded, boy my heart don't feel shit Get with me, ask 50, I'll take the hit {"real quick"} Balenciagas, you can still get ya ass kicked Take a rapper nigga bitch and make a real flick I know I'm different from what you usually be dealin with Don't need a mic, give me some white to make a million with Single borough, six shots on the Brooklyn Bridge I'll let the nigga Drake tell you what I just did (yeah) [Chorus] [Lloyd Banks:] Nigga gettin money new to you (uh) I give a fuck if shit get ugly, there'll be a beautiful funeral You fit the script I'm gon' assume it's true Can't manuever through the street without a strategy, ain't nobody to tutor you And man was lucky Unit's through, you know why he flows 15 years, switchin dealers like casinos And my goon'll clip you on the arm (uhh) I'm out the country every week and dumpin ash out on the Autobahn Auto-pilot's always on Rather better livin, I've been [?] green bills callin me all day long This is homicide, more tears in your mama eyes More reason to wake up, real niggaz arrive [Chorus]

A few years back, I had a long session with a psychiatrist who was conducting a study on post-traumatic stress disorder and its effects on reporters working in war zones. At one point, he asked me: “How many bodies have you seen in your lifetime?” Without thinking for too long, I replied: “I’m not sure exactly. I've seen quite a few mass graves in Africa and Bosnia, and I saw a well crammed full of corpses in East Timor, oh and then there was Rwanda and Goma...” After a short pause, he said to me calmly: “Do you think that's a normal response to that question?” He was right. It wasn't a normal response. Over the course of their lifetime, most people see the bodies of their parents, maybe their grandparents at a push. Nobody else would have responded to that question like I did. Apart from my fellow war reporters, of course. When I met Marco Lupis nearly twenty years ago, in September 1999, we were stood watching (fighting the natural urge to divert our gaze) as pale, maggot-ridden corpses, decomposed beyond recognition, were being dragged out of the well in East Timor. Naked bodies shorn of all dignity. When Marco wrote to ask me to write the foreword to this book and relive the experiences we shared together in Dili, I agreed without giving it a second thought because I understood that he too was struggling for normal responses. That he was hoping he would find some by writing this book. While reading it, I could see that Marco shares my obsession with understanding the world, my compulsion to recount the horrors I have seen and witnessed, and my need to overcome them and leave them behind. He wants to bring sense to the apparently senseless. Books like this are important. Books written by people who have done jobs like ours. It's not just about conveying - be it in the papers, on TV or on the radio - the atrocities committed by the very worst of humankind as they are happening; it’s about ensuring these atrocities are never forgotten. Because all too often, unforgivably, the people responsible go unpunished. And the thing they rely on most for their impunity is that, with the passing of time, people simply forget. There is a steady flow of information as we are bombarded every day with news of the latest massacre, terrorist attack or humanitarian crisis. The things that moved or outraged us yesterday are soon forgotten, washed away by today's tidal wave of fresh events. Instead they become a part of history, and as such should not be forgotten so quickly. When I read Marco's book, I discovered that the people who murdered our colleague Sander Thoenes in Dili, while he was simply doing his job like the rest of us, are still at large to this day. I read the thoughts and hopes of Ingrid Betancourt just twenty-four hours before she was abducted and taken to the depths of the Colombian jungle, where she would remain captive for six long years. I read that we know little or nothing about those responsible for the Cambodian genocide, whose millions of victims remain to this day without peace or justice. I learned these things because the written word cannot be destroyed. A written account of abuse, terror, violence or murder can be used to identify the perpetrators and bring them to justice, even though this can be an extremely drawn-out process during and after times of war. It still torments me, for example, that so many Bosnian women who were raped have never got justice and every day face the prospect of their assailants passing them on the street. But if I follow in Marco's footsteps and write down the things I have witnessed in a book, people will no longer be able to plead ignorance. That is why we need books like this one.