Posts Tagged ‘NPR’

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How To Create NPR Propaganda

Their attack reveals far more about who they are than who Camp is.

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Joe Giambrone

I’m not only referring to Trump’s tards (as Democrats would have instantly presumed) but to an equally malignant demographic: the smug, arrogant, pseudo-intellectual. These people think they know what they do not know and are thus rendered incapable of thought, incapacitated, intellectually stunted. Those types make great Nazis, in fact, and are arguably half of the voting population.

They are the Peace Laureate’s defenders and cheerleaders, Hillary’s people, corporate comedians like Samantha Bee, Zionists like Bill Maher, listeners of NPR, and readers of Alternet. These lobotomized partisans only oppose war when it is convenient, when a Republican is in office. Not when the warmonger is a Democrat, and that is disgusting hypocrisy. They have pushed the nation toward moral bankruptcy, a rampaging duopoly of blustering hypocrites talking around the crimes. They don’t notice nor even care about the bombs Barack Obama drops, nor the shiploads of arms he sells to the world’s most despicable tyrants.

How to understand such people?

They aren’t lacking in a worldview, and that’s the problem. Ideology supplants honest analysis, full stop. In this case, their only apparent ideology was revealed to be that they believe themselves to be a “lesser evil” than their opponents; that’s all. Clinton offered nothing except that her last name wasn’t Trump.

Constantly reinforced with finely streamlined propaganda that omits damning facts while pretending to investigate, this modern propaganda provides the illusion of knowledge, not the real thing. The model here is the ‘limited hangout.’ The pseudo-intellectual Democrats are permitted to know something about the topics, just enough to be brought to heel. They are manipulated at a slightly higher level than their sworn enemies, the willfully ignorant dumbasses who don’t care. A better brand of puppet is thus manufactured via top-shelf propaganda (CIA, NPR, State Department, NY Times, Washington Post, etc.). Few readers are sophisticated enough to challenge the claims of these organs, and so even nonsense can pass as factual and accurate most of the time—often all that is needed is one unnamed source.

The Putin Ate My Baby

As the alleged “Russian hacking” fiasco has shown, no credible evidence is even required to sell a new Cold War to Americans.

It’s easy to show that most of the coverage of the ‘Russians hacked the DNC’ story is propaganda and not journalism at all. Journalistic ethics require a real journalist to print the other side of the story and to present it to readers so that they can determine for themselves what to believe. Julian Assange and Wikileaks are the other side of that story, and they have been clear and consistent that the files they published weren’t “hacked” at all but leaked by a “disgusted” DNC insider. Any “news” story that omits that crucial part of the narrative is untrustworthy propaganda, the sort you’d expect living in the Soviet Union (ironically).

“Journalists should…

– Diligently seek subjects of news coverage to allow them to respond to criticism or allegations of wrongdoing.


– Support the open and civil exchange of views, even views they find repugnant.”
Society of Professional Journalists, Code of Ethics

The complete collapse of journalistic ethics across the spectrum, in the rush to demonize Russia in lockstep with the government, is arguably a far more serious concern than whether some Russian hacker found his way to some emails. The complete brainwashing of a superpower is frightening no matter how it is spun. Anti-Russian hysteria has been the norm as Washington surrounds Russia with NATO bases and destabilizes Russia’s allies, including Ukraine and Syria. These are provocations with body counts. They are not in the interest of the people parroting the official propaganda. The Great Game of imperial one-upsmanship benefits the war industry, not the common people.

It may end life on earth.

Granted, most of the content that western media provides is accurate but incomplete by design. Omission is the staple technique for those who would present biased narratives. At the large daily papers, omission is a high art form.

As the old propaganda system melts down, to much commotion, everyone needs to stay on top of the story. Western media has been exposed as corrupt, untrustworthy, and in a hostile war to influence the public mind.

No one really knows whom to trust anymore. It is a paranoid age, where even your friends lie to you daily by posting nonsensical memes based on no sourcing whatsoever. Laziness is at the heart of the dissemination: convenience culture (a la Idiocracy). No one bothers to check the veracity of their claims, to take responsibility for the information they put out into the world, although this may be turning around among a few.

We must all be journalists and demand corroboration: multiple credible sources. We must all be skeptical of news organizations, all news sources, trusting nothing without a thorough analysis. The specific phrasing matters. We must stop tolerating obvious gibberish, the fake news flooding Facebook that has no redeeming value. Noise drowns out the truth.

Real journalists back up their claims with extensive sourcing. Do you?

http://www.joegiambrone.us/

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PBS NEWSHOUR (Lies)

“The bill gained momentum after a measles outbreak that started at Disneyland and killed more than one hundred people.”

This is a fabrication at a time of increased controversy over forced vaccinations of children. One person died from complications related to measles, a woman in Washington State, the only US case in a decade. What’s more the woman WAS vaccinated against measles, putting a new spin on the manufactured hysteria:

Woman who died of measles WAS vaccinated: First patient to die of disease in U.S. for 12 years succumbed to disease because of other health problems 

Multiplying 1 death to “more than 100,” in order to scare the public, should rightly be considered unlawful propaganda. The public airwaves were just used to spread demonstrably false disinformation.

As long as those 100 fictional deaths are relevant, how about these real ones?

…as of December 14, 2014 there have been 6,962 serious adverse events reported to the Vaccine Adverse Events Reporting System (VAERS) in connection with measles vaccine since 1990, with over half of those occurring in children three years old and under. Of these events 329 were deaths, with over half of the deaths occurring in children under three years of age.

It’s not so simple, so cut and dry.

Merck, the main manufacturer of the measles vaccine is being sued in a class action suit for shitty quality and ineffectualness. Plus they rigged the tests (which the companies control rather than having independent labs as referees).

We are drowning in a sea of propaganda on every issue of any public importance. The corruption, as demonstrated, reaches right into the newsrooms of PBS.

NPR Celebrates Fast-Track Victory With an All-Corporate Lobbyist Segment

NPR Headquarters

NPR IS LAUNDERING CIA TALKING POINTS TO MAKE YOU SCARED OF NSA REPORTING

Propagandastan is doing well these days. Don’t expect much from the powers that be, and you won’t be disappointed.

 

 

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PETITION TO NPR

 

It might surprise you that one of NPR’s biggest corporate sponsors is the American Natural Gas Alliance, a front group for some of the worst polluters in America.* (MORE)

 

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Jodie Foster’s Death Wish

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Everything wrong with this film is summed up in three words by producer Joel Silver: “genre based entertainment.”

I took this as a serious movie, because it features Jodie Foster and in a different kind of role, as a disturbed vigilante.  I too wrote a similar psychological story about a character dealing with violence, a novel that needs a rewrite called American Gun Disorder.  I bring it up for the similarities that stand out: both have main characters in New York City dealing with violence and the desire for personal protection, firearms if necessary, in an inherently dangerous world.  Both main characters devolve and go essentially crazy.

Unfortunately, The Brave One is more of an implausible Charles Bronson Death Wish type plot, for the entire middle of the movie.  In rapid succession, Jodie just happens to find herself in the middle of extreme over the top incidents, where she must blast scumbags left and right.  It’s like the producers called central casting.  They placed an order for scumbag gang, psycho jealous husband, generic gangbanger pair, creepy John and suited elite gangster threatening stepdaughter.  Bang, bang, bang, bang…

What’s more, they took this off the shelf revenge fantasy and threw a British artsy-indie director at it, in order to make it appear more substantive.  Besides insulting the audience, he failed in his stylistic choices.  Such a film where the main character devolves from sane to insane, in way too short screen time no less, really needs to be from her point of view.  It has to be experiential.  The camera must capture experience, real time moments, the personal perceptions of a character.

What we got instead were standard setups, voyeuristic treatment.  The shots are more concerned with making it look cool than the actual psychology of the story.  A style like Black Swan, religiously following the main character throughout, would have been appropriate.  Here, we have a nicely lit commercial TV version of New York City.  It feels absolutely nothing like the actual New York City.  As cinematographer Philippe Rousselot revealed it was primarily shot on long lenses, which of course keep the audience at a distance, and it wasn’t “a panaorama.”  Intimate shooting requires wide lenses, proximity, a feel for the environment.  Long lenses, on the other hand, render the background as less consequential, simply window dressing.

A real character in the actual New York is half your work at selling the fear, the desperate sensibility and feeling of helplessness.  Walking among 40 story towering behemoths makes one feel very insignificant and powerless.  Add to that the hardened, aggressive city denizens, the 24 hour working class struggle and the fringes of civilization and you’re 90% there toward selling a descent into dog eat dog paranoia.  Watch any five minutes of Taxi Driver before you start production.  The Brave One failed glaringly there.  It’s simply overlit and filmed Hollywood style.

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The last problem, judging from bonus feature commentary, was Foster herself.  A “public radio junkie,” she was perhaps the wrong person to be steering this story.  NPR liberal head-nodders don’t walk around the city blasting gangbangers to kingdom come.  It doesn’t compute.  It may have been a good opportunity to show off her vocal talents and trade a radio show for unnecessary voice overs (but came off about the same anyway).  Her character, however, didn’t click for this world, for this story.

Now the film had a shot, and some people liked it – that’s why I rented it.  The beginning was okay, and the end had a little bit of inventiveness, not much, but some; I’d rate it 2.5/5.  The stupid action movie one-liners, “who’s the bitch now?” didn’t help.  The film’s middle, however, had no chance to avoid eye rolling and disbelief.  It’s like the various personalities involved took hold of sections of the film ensuring their concerns were included at certain points: just too many chefs.  In the end The Brave One pandered to rightwing conservative notions of payback and the death penalty, the usual point of these “genre based entertainments.”  No surprises on that front, which was a bit off-putting.  It’s like being trapped by conventions, by the idea that doing it differently is somehow verboten.  I found it an unnecessary, poorly done mimicry of harder edged predecessors, just another vehicle that should have stayed on the lot.