The CWA approaches the moral panic in unobjective standpoint, and constructs a bigger problem and exaggerated view of the situation. The problem is assembled similar to a disease, in which its magnitude and direction seem to be all encompassing and highly dangerous. It is mentioned that the article "does not...propose that popular music is the sole cause of violence, but...demonstrate[s] how it contributes to destructive and violent behavior" and includes other statements, such as that the author of the document Mr. Thomas L. Jippling "doesn't cast a blanket statement over all popular music, but...does highlight the prevalence" . These statements are made in the article, but in contrast cover an 18-page document that serves as a full length handbook to eliminating a problem that is quite extensive....
... middle of paper ...
..., turned up nothing conclusive. The CWA's claims of music's great hold on youth and inciting "drug use" and "suicide" fails to contribute other factors that are individual to a person. For example, "a shooter, Lee Marlvo, [who supposedly had a history with videogames that contributed to his violent nature], but it was failed to be acknowledged that he had "a history of criminal activity and antisocial [behavior]" . Olson points out in her article that the connections of these factors are vague like the CWA's article. Moral panics have no clear established link, and the CWA's article falls into the typical moral panic which has come and gone throughout the years, in which it wants to create a connection that does not exist and brings a false cloud of fear to the public and tries to result the "problem" in great solutions, returns to tradition, and have control over.
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