This kind of ideologically framed over-simplification is really corrosive to culture: >>Take your delinquency elsewhere could be the subtext under every tune i

This kind of ideologically framed over-simplification is really corrosive to culture: >>Take your delinquency elsewhere could be the subtext under every tune in the classical crime-fighting movement. It is crucial to remember that the tactic does not aim to stop or even necessarily reduce crime — but to relocate it. Moreover, such mercenary measures most often target minor infractions like vandalism and loitering — crimes that damage property, not people, and usually the property of the powerful. “[B]usiness and government leaders,” Lily Hirsch observes in Music in American Crime Prevention and Punishment, “are seizing on classical music not as a positive moralizing force, but as a marker of space.” In a strange mutation, classical music devolves from a “universal language of mankind” reminding all people of their common humanity into a sonic border fence protecting privileged areas from common crowds, telling the plebes in auditory code that “you’re not welcome here.” It conflates deliquency with being a commoner, and implies that those who succeed in improving their station in life are somehow deserving of being predated on, at least in terms of their property, by the deliquent. Essentially this romanticizes and rationalizes deliquency, and discourages any measure to punish it. In truth, deliquency harms, first and foremost, the common people, whose common spaces are degraded by it. It is perpetrated by a tiny proportion of the poor. It is by no means a common characteristic of the poor. Making the deliquent out to be victims, and synomous with common crowds, and their behaviour out to be a socially just act of balancing the class scales, is factually wrong, and has an absolutely toxic effect on society.