THE UNCLE SAM SHOW
Imagine, if you will, a gray area, lying somewhere between government and corporate communications, illegal and hidden, which we call The Fascist Zone
Some everyday items we’ve inherited from the military: canned foods, air travel, GPS, penicillin, drones, duct tape, super glue, microwave ovens, Kleenex, Kotex, frozen juice concentrate, freeze dried foods, WD-40, and Jeeps.
Also, the radio, the computer, and the Internet.
And, for the focus of this post, PROPAGANDA.
Subscribing to LIAR$$WORLD is free, hoping that you will pay‑subscribe to other Substackers who have greater expenses or post more often.
This will be written in an informal style of tidbits, enabling us to move right along. The sources will be mentioned at the end for those who are interested.
BEGINNINGS
The modern era of propaganda probably began with World War One. No historian has ever explained why this war occurred and it stands to this day as a death’s head at the gate of the horrific 20th century. Clearly such an event needed a whole lotta propaganda to win favor with the common man.
The US entered WW1 in April 1917, and the Committee on Public Information was formed one week later, by executive order of Woodrow Wilson, who was sworn in for a second term that January after campaigning that he had kept us out of this strange war.
During his first term in office, this sad little man signed into existence the Federal Reserve System, the single most disastrous development in the history of the US and perhaps the world. He was blackmailed into doing into doing so by wealthy men who paid $50,000 to another blackmailer who had love letters from Wilson to a mistress. He later said, “I have unwittingly ruined my country”. Yes, butthead, you did.
President Wilson created the Committee on Public Information by executive order to consist of the Secretary of State, the Secretary of War, the Secretary of the Navy, and a civilian charged with the executive direction of the committee. In the absence of congressional hearings, laws, or administrative rules, the committee could be anything the President wished. Creel was quickly named by President Wilson to head the committee. Creel wasted no time in structuring it to serve as a clearinghouse of information concerning government activities and mobilizing artists, intellectuals, journalists, and other media professionals from around the country to utilize their skills on behalf of the war effort.
*Stiles
Who is Creel?
George Edward Creel (1876-1953) was an American investigative journalist and writer, a politician and government official. He served as the head of the United States Committee on Public Information, a propaganda organization created by President Woodrow Wilson during World War I.
*Wikipedia
Perhaps you're a bit annoyed by the juxtaposition of the words “investigative journalist” and “politician”. So am I. Creel wrote a book about his work on this committee, which includes the following:
…vast enterprise in salesmanship, the world's greatest adventure in advertising.
(and)
Could we be sure that 100 million ─ the fathers, the mothers, the children of America, alien born and native alike ─ understood well enough so that they would support one loan after another, would bear the burdens of taxation and send wave after wave of America's young manhood to die in Flanders fields? *George Creel
(and)
The printed word, the spoken word, motion pictures, the telegraph, the wireless, the poster, the sign‑board ─ all these were used in our campaign to make our own people and all other peoples understand the causes that compelled America to take arms.
*George Creel
A great adventure indeed! One of the committee’s employees was Edward Bernays, considered by many the grandfather of modern propaganda/advertising/social engineering. Note the last excerpt above, because Jacques Ellul, in his classic work Propaganda insists that for it to be effective, it must be TOTAL, that is it must utilize every medium of communication.
Bernays had already perceived the dynamic whereby an issue or trend or controversy could be harnessed, or made from whole cloth, and managed so as to appear an organic, grassroots development in the society at large. This practice generates what we now call astroturf issues, and it's an important element of the repeatedly used problem‑reaction‑solution paradigm sometimes referred to as the Hegelian dialectic.
As we have seen with the Covid $camdemic, propaganda becomes turbocharged when combined with censorship, and it was no different then:
Notice that the democratic free press had to be muzzled to ensure the advancement of democracy!
One might assume The US entered the war in order to help end it. Yet midway through the conflict, when Germany was ready to capitulate, mostly due to starvation caused by blockades, the Commission for Relief in Belgium was formed, ostensibly to send food aid to the people of Belgium. The food actually went to Germany so they could keep fighting, because the international bankers and armorers (one and the same persons) were not finished making their profits. The head of this Commission was Herbert Hoover, third President after Wilson, and a flim‑flam artist who had been banned from the London Stock Exchange.
We have now set the stage for the rest of this post. Our government and the corporations function as a nearly seamless unit after the interests of the cabal and with complete disregard for all justice or decency or concern for humanity.
If you think this statement extreme, please read the following essay about the death protocols in US hospitals during Covid (link).
Joseph Goebbels, famed Nazi propagandist, combined the press, radio, film, theater, and propaganda into a single, large-scale organization and considered the media as "a piano…in the hands of the government". Although it's great fun to blame everything on the Nazis and the Commies, let us note here that Frank Wisner, deeply involved in the OSS and its offspring, the CIA, referred to his influence with the various public media as his “mighty Wurlitzer”.
In April 1953, Cecil B. DeMille, then working out of Paramount Studios, was appointed as a special consultant to the government on cinema. As far as propaganda was concerned, DeMille believed that the most effective use of American films was not to design an entire picture to cope with a certain problem, but rather to see to it that in a regular film, the right line, aside, inflection, or eyebrow movement was introduced to reflect desired American attitudes to whatever subject was at hand.
(and)
In 1956, The Joint Chiefs of Staff met with John Ford, John Wayne, and Ford's producer, Merian Cooper, to discuss how Hollywood could promulgate the concept of "militant liberty." They agreed on the imperative to produce films which would "explain the true conditions existing under Communism…and to explain the principles upon which the Free World way-of-life is based.
*Deserano
Why are movies so important? We’re now referring to the Cold War era, and we must remember that Madison Avenue and the Ivy League psychologists have made important advances since 1917. In a nutshell, to steer human behavior you don't appeal to the intellect, but rather manipulate emotions.
Written and spoken words are put through a type of decoding process wherein the brain deciphers the words and the sentence structure in order to properly interpret what it is reading/hearing. In this process, both the conscious and unconscious mind go through an internal debate comparing what its interpreting with what it already knows to be true. With the image, however, the brain instantly processes it as truth, which means information presented in a visual format has a much greater impact on the unconscious. Over long periods of time, recurring imagery has a built-up effect on the viewer which allows for unconsciously conceived notions of truth to manifest as though from nowhere. Naturally, then, whoever has control over the mediums of communication has a tremendous amount of power over the populations who consume it.
(and)
…regular viewers of violent films and/or television programming often look upon the world as being much more frightening, dangerous, and violent than those who view the same media in much less quantities or not at all.
*Deserano
Furthering this concept, an excerpt from a 60 page essay about how President Barry Soetoro used mass hypnotism in his speeches (link):
First, notice how much Obama uses storytelling in his major speeches, especially at the beginning of nearly all of his speeches. Storytelling is a primary hypnotic tool because it employs images, metaphor, the imagination, rhythm, makes us feel like children, and takes us to another time and place so the mind tells itself “it is only a story” and allows it to pass into the subconscious. However, this is just the beginning.
Now we see why fictional movies and television shows are so important to the hidden manipulators, and this will help us understand all the crazy factoids contained in this paper.
JACK VALENTI
Jack Joseph Valenti (1921-2007) was an American political advisor and lobbyist who served as a Special Assistant to U.S. President Lyndon B. Johnson. He was also the longtime president of the Motion Picture Association of America (1966-2004). *Wikipedia
His wife was LBJ's secretary from 1954 to 1962 and they were family friends also. Jack appears in the famous photo of LBJ being sworn in, midair, the day JFK was shot. Jack’s consulting agency was PR advisor for that visit to Dallas. Soon after, he became one of two Presidential advisers to have lived in the White House (the other: Harry Hopkins for FDR).
"I sat in on every Vietnam meeting in which President Johnson was engaged, from the day of John F. Kennedy's assassination to the day I left the White House in mid-1966. I think I know as well as anyone the ebb and flow of the Vietnam tides inside the White House."
*Valenti
As head of MPAA Jack once said "the film industry as a whole has adopted … a more tolerant attitude in matters of self-censorship.”
The MPAA has offices in Los Angeles, Texas, Florida, and Washington DC, and around the world.
In 1999 the Army signed a five-year $45 million deal with the University of Southern California to establish the Institute for Creative Technologies, wherein the school’s expertise in filming and special effects will focus on virtual reality combat and simulations similar to Operation Desert Storm (of 1990-91 … so apparently planning to return to the region … as soon as the Deep State blows up the Twin Towers?) Valenti said of this effort, “The digital world, the world of virtual reality … is going to be part of the embrace of this great, new cooperative venture.”
In 2001 baby Bush’s top strategist Karl Rove met with CBS, Viacom, Showtime, Dreamworks, HBO, MGM et al, to discuss how Hollywood might create content explaining the War on Terror to the gullible public. Valenti buddied up with Rove and came to the White House for periodic briefings.
Three more Valenti-esque examples:
ABC's Diane Sawyer was an assistant to Richard Nixon for eight years.
Famed PBS talking head Bill Moyers once worked at CBS and NBC. He was deputy head of the Peace Corps under JFK, then special assistant to LBJ, then his press secretary for two years.
Fred Thompson appeared in 56 movies and TV shows including 116 episodes of Law and Order. Once Senator from Tennessee (1994-2003), he also had a successful law practice with important clients in DC and nearly ran for president. Mind you, I am thoroughly awestruck by anyone who can accomplish this much in their life; however, in accordance with the theme of this post, his capacity to function as a social engineer and back-room fixer makes me genuinely apprehensive. Even more troubling, I really like the guy!
SOLDIER SAM
Many boys love lighting firecrackers (I don’t). What is a nuclear-powered aircraft carrier but a firecracker writ large?
The US armed services know they have a lot to offer in making action-packed films. They are actually quite cooperative in this regard, but only if the studio accedes to their conceptual demands. Rather than the perennially fascist “pay to play” paradigm, we find here an “obey to play” dynamic.
Dedicated military liaison officers ─ and they do exist ─ can oftentimes wield influence on a par with executive producers.
Pentagon objections – usually the kiss of death – relate to any suggestion of military incompetence or war crimes, loss of control over nuclear weapons, influence by oil companies, illegal arms sales or drug trafficking, use of chemical or biological weapons, US promotion of coups overseas, or involvement in assassinations or torture. In fact, precisely the things the US military is known to have been doing. *Cook
In 2017 Matthew Alford and Tom Secker wrote a book, National Security Cinema: The Shocking New Evidence of Government Control in Hollywood. They comment:
When we first looked at the relationship between politics, film and television at the turn of the 21st century, we accepted the consensus opinion that a small office at the Pentagon had, on request, assisted the production of around 200 movies throughout the history of modern media, with minimal input on the scripts.
How ignorant we were.
More appropriately, how misled we had been.
We have recently acquired 4,000 new pages of documents from the Pentagon and CIA through the Freedom of Information Act. For us, these documents were the final nail in the coffin.
These documents for the first time demonstrate that the US government has worked behind the scenes on over 800 major movies and more than 1,000 TV titles.
*Alford/Secker
One topic not tolerated is military suicide, which in several recent years has exceeded combat deaths.
Vietnam is another touchy subject. A James Bond movie was to have him parachute from a plane and land in Vietnam, while his sidekick joked “You know what will happen ─ it will be war; and maybe this time we'll win.” The line was removed.
A movie titled Countermeasures was never produced, with one reason being the script mentioned the Iran‑Contra scandal. The DoD liaison said, “There's no need for us to remind the public of the Iran‑Contra affair”.
In the comedy Meet the Parents Ben Stiller was to discover CIA torture manuals in Robert De Niro's secret hideaway. The scene was changed, to showing memento photos of De Niro with various dignitaries.
One general rule in stories involving DoD, FBI, CIA, NSA, TSA, etc., is that illegal or immoral plot actions shall stem from rogue agents or bad apples, thus avoiding any portrayal of institutional criminality or brutality.
In the Bond film Goldeneye (1995), the script had a US admiral betraying state secrets, but the DoD insisted the traitor be French.
Since the early 1900s, America's enemies have been Germans, Nazis, USSR, communists in general, Islamic terrorists, and now domestic terrorists. American Christians, instrumental in establishing the seminal American ethos, are now framed as narrow, selfish, greedy, racist, and anti-intellectual. Such is the power of rhetorical absolutes and the cultural hierarchy of values when they can be infused from the top down through media, Hollywood, and education.
*Stiles
In the original 1986 Top Gun the Kelly McGillis character was changed from an enlisted person to a civilian because relationships between officers and enlisted personnel are against the rules. This film was so popular the Navy set up recruitment booths near mall theaters. The script monitoring for the recent Top Gun Maverick was even more strict. Keep in mind the cost of one F-14 Tomcat is $38 million and this movie's budget was $15 million.
The original premise of Marvel's Ironman was that the main character was opposed to the arms industry and his invention would stop wars. The Pentagon rewrite had him uttering, “Peace means having a bigger stick than the other guy.” A military character in this film was to say, “People would kill for the opportunities I have”, but the Pentagon agent suggested, “How about ‘they'd walk over hot coals’”, to soften the statement. This is an example of the level of detail monitored in these agreements.
F. Other films to have received assistance from the Pentagon are: Air Force One (1997), A Few Good Men (1992), Armageddon (1998), The Hunt for Red October (1990), Pearl Harbor (2001), Patriot Games (1992), Windtalkers (2002), Hamburger Hill (1987), The American President (1995), Behind Enemy Lines (2001), Apollo 13 (1995), Tomorrow Never Dies (1997), and A Time to Kill (1996).
G. Some films that were denied: Apocalypse Now (1979), Catch-22 (1970), Dr. Strangelove (1964), Full Metal Jacket (1987), The Last Detail (1973), Lone Star (1996), Mars Attacks! (1996), Platoon (1986), and The Thin Red Line (1998) (Campbell, 2001, August 29; Weiss, 2002).
*Deserano
An example from the private sector gives an additional perspective on creative constraints demanded by filmmaker sponsors and collaborators. This is from a Procter and Gamble guideline sheet for content:
There will be no material that may give offense either directly or by inference to any commercial organization of any sort. There will be no material on any of our programs which could in any way further the concept of business as cold, ruthless and lacking in all sentimental or spiritual motivations… Members of the armed forces must not be cast as villains. If there is any attack on American customs, it must be rebutted completely on the same show.
*Deserano
We might wonder, “Well, that’s for movies, and everybody wants to be the hero, but wouldn’t the news programs discuss things that might be uncomfortable for the military, or other government agencies?”
Um, probably not.
THE PUBLIC GOOD…NOT
In 2000, two journalists for Fox News were creating a report about the danger of Monsanto's bovine growth hormone. The story included a $2 million bribe offer to Canadian regulators to stop testing it. Millions were also “donated” to a Florida university doing tests which were to influence the FDA. Monsanto was a client of an advertising firm owned by Rupert Murdoch, who owned Fox. When the story came to executive-level attention, they pulled it, and the program manager who wanted to air the piece was fired. The executive who replaced him told the two journalists, “We paid $3 billion for these television stations. We'll decide what the news is. The news is what we say it is”. Then they were fired.
In his 1995 autobiography, Lawrence Grossman (president of PBS [1976-1984] and NBC [1984-1988]) wrote, "The corporate culture came to dominate the news business, treating news as a commodity or service no different from 'toasters, light bulbs, or jet engines,' to quote John F. Welch, chairman of General Electric, which bought NBC in 1986. Welch insisted that NBC News had no greater responsibility for public service than any of GE's more traditional lines of business, regardless of news' special Constitutional standing and the broadcast company's historic FCC license obligations… They [Welch and a good many of his colleagues] had no qualms about doing whatever was necessary to achieve that goal [the profit-making requirements of the NBC news department], with little regard for journalistic standards, integrity, or taste," (Grossman, 1995, p. 75).
*Deserano
We've all heard about the extreme concentration of media ownership (thanks to the 1996 Telecommunications Reform Act). In the 1950s, mass media (television and radio stations, film studios, magazines, newspapers, and book publishers) were owned by more than 1,500 corporations. By 1981 these companies were owned by less than 50 corporations; and today the number is 6 (Comcast, Walt Disney, AT&T, Paramount Global, Sony, Fox).
This consolidation is found in all sectors of the economy, and now we hear about Vanguard and Black Rock hedge funds owning darn near everything. Keep in mind, one definition of a corporation is a legal mechanism for hiding ownership. The cabal own the media and the “defense” firms and pharma, and they're not going to say embarrassing things about themselves. Ever.
Surely, the federal government has some agency which makes sure the public airwaves (which are a modern form of the commons) are used in a fair fashion prioritizing the public benefit.
Here is a short statement of principle from the Federal Communications Commission:
In exchange for obtaining a valuable license to operate a broadcast station using the public airwaves, each radio and television licensee is required by law to operate its station in the “public interest, convenience and necessity.”
(link)
The commons is the cultural and natural resources accessible to all members of a society, including natural materials such as air, water, and a habitable Earth. These resources are held in common even when owned privately or publicly. Commons can also be understood as natural resources that groups of people (communities, user groups) manage for individual and collective benefit.
*Wikipedia
Noble thoughts indeed, but…
Michael Kevin Powell (born March 23, 1963) is an American attorney and lobbyist who served as the 24th chair of the FCC from 2001 to 2005. Since leaving office, Powell has since worked as the president of the National Cable & Telecommunications Association (NCTA), a broadband industry trade association.
*Wikipedia
His salary in 2015 was $4.6 million.
Upon his appointment as FCC chair, he (Powell) was asked what the public interest was; Powell replied, "I have no idea." It should be of no surprise, then, that the National Association of Broadcasters referred to him as "an outstanding choice".
(and)
As one FCC Chairman put it, 'the job of the FCC is to regulate fights between the super wealthy and the super, super wealthy. The public has nothing to do with it.'"
*Deserano
His father, General Colin Powell, along with George HW Bush and Richard Armitage managed the Golden Triangle heroin trade during the Vietnam War. During the first Gulf War, Powell and Bush received $15 million and $10 million in gold, respectively, from the emir of Kuwait. Then Powell, when US Secretary of State 2001-2005, helped manage the 9/11 false flag CRIME and the ensuing second Gulf War. Nice family.
HERE AND THERE
The United States Agency for Global Media oversees all broadcasting affairs outside of the US (budget: $810M, which includes Middle East Broadcasting Networks). Four more agencies within its purview are Office of Cuba Broadcasting (budget: $15M), Voice of America (budget: $252M), Radio Free Europe/Radio Liberty (budget: $124M), Radio Free Asia (budget: $39M). The aforementioned have a total budget of $1.24 billion. Here is a list of some of the languages broadcast:
I don’t think our beloved federal leviathan would be shy about spending a big pile of shekels right here at home to facilitate social engineering and telling people what to think.
Indeed, in 2022 Pfizer became the first drug company to break $100 billion in annual sales, after spending $2.8 billion on advertising. The feds spent $1 billion of your money to further convince you to take the jab.
DOCTOR SAM
Did you know there is an Association of Health Care Journalists (AHCJ)? Makes sense, I guess, after all there is an American Dehydrated Onion and Garlic Association.
Did you know the CDC has a joint program with the AHCJ whereby its writers are trained in how to report health and medical news and who to consult for questions? Now that we've experienced the financial devastation of the Covid $camdemic, along with the idiocy of the medical advice we’ve been given, we can see that this collaboration is working quite well. Not once in three years has the CDC recommended that a person maintain adequate vitamin D levels in their body, probably the most important factor in limiting the effects of Covid, but this useless ─ nay, criminal ─ organization has 100% of the time urged everyone to receive the dangerous jabs now causing debility and death around the world in staggering numbers. They trained the mainstream media well, because you have to go to a place like Substack to learn the truth about these matters.
What’s even worse is the HHS, the group that started me formulating this post:
…Hollywood Health and Society (HHS), headquartered at the Norman Lear Center at the University of Southern California’s Annenberg School of Communications. According to its website, the organization “provides entertainment industry professionals with accurate timely information on health storylines.” …It delivers consultation, writers and scripts for television, Hollywood films and documentaries. And who offers this expert consultation? HHS’ top funders, including the CDC, the National Cancer Institute, the Office of National Drug Control Policy, and the world’s largest private financial source for vaccine development and propaganda, the Bill and Melinda Gates Foundation.
HHS’s mission states:
In partnership with our funding agencies, we offer several resources, including quick facts, briefings and consultations with experts, case examples, panel discussions about timely health issues, a quarterly newsletter with health updates called “Real to Reel,” and an expanding list of tip sheets written specifically for writers and producers. Tip sheets are available on the CDC website, as well as the NCI website. The broad range of topics includes influenza, toxic mold, smallpox, cancer, autism, motor vehicle crashes, obesity, adolescent health issues, antibiotic resistance, clinical trials and much more.
*Null
The founding director of the Lear center is Marty Kaplan (born 1950). He was a speechwriter for Vice President Walter Mondale (under Jimmy Carter) and helped in his failed Presidential race. He worked for the US Commissioner of Education. He was a program officer at the Aspen Institute, a guest scholar at the Brookings Institute, and a senior advisor at the Carnegie Foundation for the Advancement of Teaching (read: the advancement of brainwashing). He worked at Walt Disney studios and was involved in other movie productions, including a political comedy, The Distinguished Gentleman, about corruption in Washington DC. He also worked at Air America Radio and National Public Radio. For ten years he was a columnist for the Jewish Journal.
Talk about red flags! This guy is a poster boy for the theme of this post: the gray area between public and private interests. Kaplan once said, “We know from research that when people watch entertainment television, even if they know it’s fiction, they tend to believe that the factual stuff is actually factual.” When he says “people”, he means the serfscattlegoy, because he’s involved in creating all this crap to befuddle his lesser brethren.
He was married to Susan Estrich (born 1952), described by Wikipedia as an American lawyer, professor, author, POLITICAL OPERATIVE, and political commentator (guest on Fox News). She graduated from Wellesley and Harvard, served as campaign manager for Michael Dukakis in 1988, and served as legal counsel Roger Ailes in 2016 (sexual misconduct). She is currently a law professor at USC, home of the Lear Center, and in 2022 defended Leon Black (rape), a billionaire associate of Jeffrey Epstein. Oddly she claims to be a survivor of rape herself.
The foregoing is ever so, dear reader. These traitors to the common man travel in the same circles, marry in the same circles, and divorce in the same circles. Some call them the elites, but here at LIAR$$WORLD we always say financial elites, because it's only about money, and they possess no endearing moralistic qualities.
THE REPORT
We now turn to the US Senator Tom Coburn report “CDC Off Center” from 2007 (length 115 pages). This analysis questions the need for the CDC to spend millions of dollars watching soap operas and presenting awards to Hollywood actors for toeing the party line on medical matters.
The CDC Entertainment Education Program collaborates with “entertainment industry leadership to provide accurate depictions of healthy living at all life stages” and also works to provide “public health experts as a resource to entertainment industry writers.” It seeks to “raise awareness and behavioral change” by providing “accurate depictions of healthy living at all stages of life … to entertainment industry leadership for possible inclusion in television storylines.”
In other words, the CDC spends tax dollars to ensure that when a made‑up character in a fictitious TV show talks about a health topic, he or she talks about it accurately.
According to the CDC, “Popular entertainment provides an ideal outlet for sharing health information and affecting behavior.” CDC says that since many Americas learn about health issues from television, “we believe that prime time and daytime television programs, movies, talk shows and more, are great outlets for our health messages.”
*Coburn report
The CDC’s Entertainment Education Program began a collaborative project with the HHS in 2001, which by 2007 had received $1.75 million as the exclusive recipient. The first HHS director was Vicki Beck, who … wait for it … was the first director of the CDC’s entertainment program. Four other Federal agencies have paid $3.26 million to HHS during this time span (CDC budget $11.1B – the other 4 are The National Cancer Institute $7.7B * National Institutes of Health $37.3B * Agency for Healthcare Research and Quality $10.5B * Health Resources Services Administration $12.1B).
The Agency for Healthcare Research and Quality's (AHRQ) mission is to produce evidence to make healthcare safer, higher quality, more accessible, equitable, and affordable, and to work within the U.S. Department of Health and Human Services and with other partners to make sure that the evidence is understood and used.
*AHRQ website
A fresh screen shot of this agency’s website pictures nine idiots wearing masks, which were known before the $camdemic to be ineffective for virus blocking or containing. Just who I want to go to for my medical advice!
CDC reported that efforts by the Hollywood, Health & Society program under its cooperative agreement with the CDC have resulted in over 400 television episodes “which have contained public health information” nearly 90 of which “presented public health issues in major storylines.”
(and)
CDC officials persuaded producers of NBC’s “ER” to place a condom poster on the set “as a roundabout way of getting the health message to TV viewers,” and made sure that a bioterrorism scenario on Fox’s “24” is accurate. CDC also makes sure the proper federal agency is referenced in a show, trying to correct past mistakes where one show depicted NIH personnel doing tasks that would more likely have been the CDC’s responsibility. And all these resources are provided to the entertainment industry free of charge, courtesy of four federal health agencies spending American tax dollars.
“We’ve focused on being a resource for TV writers who call us all the time,” Vicki Beck told one reporter. “They’ve got an idea, they want, say, a certain character to suffer from a specific disease, and they need to talk to an expert on that topic to see, in fact, whether that makes sense.
We then put them in touch with whomever can best help them, whether that person is with the CDC or UCLA or NCI or NIH, wherever.” Beck’s federal funded program has worked with writers from “ER,” “Grey’s Anatomy,” “House,” the various “Law & Order” and “CSI” shows, “Star Trek,” “Desperate Housewives,” and numerous soap operas such as “General Hospital,” among others.
(and)
The Department of Defense (DOD) and Department of Homeland Security (DHS), the Central Intelligence Agency (CIA), and the National Aeronautics and Space Administration (NASA) have all paid federal employees to outreach to Hollywood.
(and)
It is hard to argue in this day and age that television producers do not have an incentive, without federal taxpayer involvement, to get their storylines correct. Television shows that are entirely about medicine such as “ER” and “House,” for example, risk losing credibility with their viewers unless they get their medicine and the health storylines correct. Advertisers on those shows, including many related to the health industry, serve as another layer of built-in accountability.
With the multi-billion dollar television industry, million-dollar-per-episode salaries for TV actors, and millions of dollars of revenue from daytime and prime-time dramas, should it be a priority for taxpayers to have CDC-funded Hollywood liaisons to help producers get the health storylines correct?
*Coburn report
Isn’t it refreshing when someone speaks the simple truth?
So, all of the above is just from a recent rummage through my archives (begun in 2006) and most assuredly represents only the tip of the iceberg in such behaviors. Social engineering is always evil and always anti‑freedom. When you merge corporate desiderata into a nation’s organs of government the common citizen is left without an advocate and abandoned to rapine. The Covid $camdemic has famously seen $3 trillion shifted from the middle class of the US to the insanely wealthy oligarchs who darken our horizons each day of the year. Be assured, the only “-ism” you need to worry about is fascism.
And know this: since the bit about Hoover and the Belgian Relief Fund are not being taught in our high schools, we can be certain that things have only gotten worse in more than 100 years. Please let me know if you ever see a newspaper headline describing crimes of this magnitude.
Whenever you watch military dramas or ─ heaven forbid ─ comedies, know that the voice speaking to you is that of the armorers owned by the cabal. When some doctor show starts rattling off what drugs a person should take you can assume the speaker has a close relationship with PfizerNovartisMerckRocheWhatever.
We are told our church pastors shouldn't talk about politics under the constraint of IRS nonprofit guidelines. How convenient for the conspirators, who showed their hand by closing all of our churches for two years.
For the wisdom of this world is foolishness with God. For it is written, He taketh the wise in their own craftiness. 1 Corinthians 3:19
We can try to avoid consuming these pernicious sensory inputs, but if exposed, we must practice a keen discernment which enables us to tease out the hidden agendas and mark them down on our collective shit list.
Substack is an excellent place to keep your cabal‑sensing antennae in proper condition.
God bless, and thank you for visiting. Arnie
*Stiles refers to the following book I read for this assignment:
One Idea To Rule Them All: Reverse Engineering American Propaganda
Michelle Stiles
*Alford/Secker refers to an essay by the authors of the following book (URL for essay no longer functions):
National Security Cinema: The Shocking New Evidence of Government Control in Hollywood
Matthew Alford and Tom Secker (2017)
Here are 4 books mentioned by Alford/Secker:
In Secrecy's Shadow: The OSS and CIA in Hollywood Cinema 1941-1979
Simon Willmetts
Superheroes, Movies and the State: How the US Government Shapes Cinematic Universes
Tricia Jenkins and Tom Secker
The CIA in Hollywood: How The Agency Shapes Film and Television
Tricia Jenkins
Guts and Glory: The Making of the American Military Image in Film
by Lawrence H. Suid (2002)
*Null refers to an essay by Gary Null about the movie Vaxxed (URL for essay no longer functions):
*Cook refers to Jonathan Cook’s 2022 essay How the Pentagon Dictates Hollywood Storylines, still linked at:
https://www.transcend.org/tms/2022/08/how-the-pentagon-dictates-hollywood-storylines/
*Deserano refers to a long essay (25,000 words) by David B. Deserano titled Information Control For Social Manipulation (2003) still available at:
http://www.whale.to/a/deserano.html
(By the way, if you're not familiar with www.whale.to it is a wonderful source of extensive information ─ much of it in the medical realm, but touching on many other aspects of the world conspiracy also)
US Senator Tom Coburn report “CDC Off Center” is available for purchase as a book. I didn’t detect a free copy on the Web, but you can get one from me if you need it.
I did not have time to comment on Lookout Mountain and all the work that was done there in propaganda film work by the government, most notably before and after WW2. Here is a good introduction to this huge topic:
http://mileswmathis.com/tate.pdf
The entire paper (95 pages) is fascinating and important.
If you have any sincere questions, feel free to write:
As long as I have Duct Tape you can keep all of the rest!
... well... that and TANG! - wait that was part of the space program... OK same thing. Millie Tarry.
P.S. The crack about TANG was humor. I hated that stuff when I was a kid and kids would eat anything.
Thank you ickwe and Patrick! If you ask people on the street if they think Big Pharma has an honesty problem, 98% will say "Oh yeah, those bums, I wouldn't trust them to hold the door for me at the grocery store". But when it comes to vaccines, these same devils somehow go all choirboy on us. Weird in the extreme!