Violence Is Who We Are Analysis

Undeniably, time and change share a critical synergy. Two nonfiction articles concerned with American society address this time and change relationship. Distinctly, each author cares about the future for land of the brave due to the upcoming generations lack of devotion towards greatness. Thomas Friedman, in We’re No. 1(1), differentiates the loyalty of the Greatest generation to the arrogance of Baby Boomers. Similarly, in Violence is Who We Are, Steven Crichley compares the mainstream culture of a few decades ago to what teenagers are interested in now. Taking a slightly different approach, Michel-Guillaume Jean de Crevecoeur contrasts the differences in the way of life between his home country and the new country. Friedman writes about the
For instance, violence in movies then are comparable to what you would see in a children's cartoon, specifically with the way that “graphic depictions” (column 3) have evolved over time. Crichley compares the work of well known director Sam Peckinpah to “that of Walt Disney” (column 4). Similarly he claims that music has gone from “melodic love songs... to hate-filled, misogynistic lyrics” (column 4), stating that “the amazing gift of timeless jazz” has faded away and the “hopelessness of heavy metal is a more popular choice” (column 4). Crichley affirms that the intended innocence of video games has “devolved into interactive mass slaughter and rape” (column 4). Then sarcastically stating that “if you develop your gaming skills to a high enough level, the military may even recruit you to fly drones” (column 4), this suggests that video games will not help addicts find a career once they graduate. Now a days everything is “just a key stroke away” (column 4). Adolescents accessibility to everything has flipped upside down. Before, “a 12-year-old boy might sneak a look at his father's Playboy magazine” (column 4). Now he can view any graphic video on any