Who will narrate reality in the future?

Who will narrate reality in the future? | Jon Rappoport's Blog

The elite news anchor is an actor who can know and not know, at a moment’s notice, that he is acting.

He can deal with these massive internal contradictions because he is a roaring success; he is admired; he banks a big check every month; he exerts influence; he has a certain amount of power; he thinks about ratings and what he has to do to improve them; he lives in a bubble where all the important people lie all the time. He is familiar with the culture and is part of it.

Evidence of Revision. And predictive programming.

And on the same day, 15 July 2012, that the Petraeus letter was printed, so too was the Innocence of Muslims letter printed.

Now I know CIA is balls deep into the lapdog media but even so, that was one hell of a day for alternative channel communications by some asset in the Mighty Wurlitzer... Talk about predictive programming!

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INSPIRED BY SCANDAL

I am a student filmmaker. My senior thesis is an allegorical look at a controversy that took place on my school’s campus more than a decade ago. Am I obliged to inform auditioning actors that this controversy inspired the film? It was public and divisive when it happened but has since been virtually forgotten. A.P., NEW JERSEY 

Your question suggests that the nature of this controversy might make a certain kind of person unwilling to participate in the film. If this is true — if you honestly believe your actors might unknowingly find themselves in support of an ideological position they find abhorrent, and you don’t want this to happen — you should open the audition by briefly explaining how and why this event became the motivation for the movie. If (for example) this film was a sympathetic roman à clef about a long-dead professor who was both a serial rapist and a Holocaust denier, the lead actor might want to know this before he signs on. I would think you would want him to know these things, and it might improve the entire project. 

But are you obligated to do this? You are not. As the creative force behind an artistic endeavor, you reserve the right to share or withhold whatever information you believe will create the best possible version of whatever work you intend to make. There’s no ethical imperative to explain why a fictional story exists. 

E-mail queries to ethicist@nytimes.com, or send them to the Ethicist, The New York Times Magazine, 620 Eighth Avenue, New York, N.Y. 10018, and include a daytime phone number.

A version of this article appeared in print on July 15, 2012, on page MM17 of the Sunday Magazine with the headline: A Message From Beyond.

DC new 52: prehistoric

DC gave it the old college try, but the new 52 concept, whilst structurally sound enough, lacks commitment to its cause.

Its main characters have long since been chewed up and excreted as "brands" that lack soul and creativity. So it's silly to bother with popularity contests about them. Superman and Batman aren't going anywhere.

What is remarkable is how the topicality of the original golden age and silver age characters has become fossilised.

Hal Jordan as a test pilot in the space age was brilliant. Hal Jordan as... what exactly? In the 21st century is stupid.

But not as stupid as millionaire (now promoted to billionaire- inflationary spiral much?) playboys, journalists and even cops as alter ego professions.

No billionaire can be remotely clean, let alone heroic. Journalists are part of the political class or they end up murdered. Cops... Well if anyone simultaneously knows five or more cops and four clean ones they don't live on planet Earth. Smallville had to acknowledge these points directly with how it dealt with its superheroes' alter egos. And it was well done for its part.

The Brave and the Bold cartoon played around with the existing universe brilliantly, acknowledging apparent contradictions and blending it into a wholesome and relatively harmonious whole. Smallville simply started again, and I think to the extent it failed it wasn't the cornball and soap opera- that's what fans liked- it was shoehorning existing DC comics elements into it without fully Smallvillising them.

Probably the single most silly and old fashioned thing of all in the new DC 52 however is its political correctness. We've had it proven now for years that cultural marxism is not only ridiculous and a failure, it's also a direct attack on the real value system of our civilisation. To let the freaks and deviants run the funnybooks and write sheer perversity on a daily basis is just so clunky and prehistoric. Diversity, as a healthy outgrowth of the mixing of originally isolated populations, is a normal natural outcome. But the hidden agenda driving DC's witless shoehorning of "minority" characters as though they're so many unpopular types of nut included with the cashews and macadamias to pad out the bag is retarded. It's also highly demeaning to everyone but they have zero interest in that.

At some point the trademarks will reduce in value to the point that they melt like ice cubes... Not yet, and not particularly soon either... But it is as inevitable as entropy itself. We will see genuinely new characters again, but it will take the next Stan Lee to do it.

And he or she is not working for Warner or Disney, by definition.

Soldiers, Listen

C-911-Tuhnekaw

The Last Circle, by Carol Marshall, Re Inslaw Case, at American Buddha Online Library

I later asked a friend in Washington D.C. to research Nichols' copyrights at the Library of Congress. There were indeed two stories copyrighted by Robert Booth Nichols under the pseudonym of R.N. LeDevoilier. Perhaps he was unaware that a cross-reference would reveal his true identity.

The 20-page manuscript entitled "Acceptable Casualty," essentially outlined gays and I.V. drug users as targets of bio-war by a cabal of military intelligence officers. In the story, a secret file, "C-911-Tuhnekaw," revealed the origin of the first AIDS infection. Field research dated November 12, 1977 originated from a Bay Area laboratory destroyed by fire in December 1975. Assorted bio-labs were mentioned, one in Palo Alto, California. The hero of the story obtained the secret cure from "the Chosen Ones" and escaped to Singapore with his family.

Interestingly, the names of those involved included "Yutaka Okimoto" and "Lawrence Zokosky," the last names of which match those listed on Nichols' "real life" corporation, Meridian International Logistics (MIL).

Nichols also copyrighted a 90-page James Bond type treatment entitled, "Decision of Conscience," which described state-of-the-art electromagnetic technology (launchers) used to demolish a two-story concrete building. I later found the words, "Decision of Conscience," written in Danny Casolaro's handwritten notes also.

Nichols' secret desire to write about his exploits in the CIA had led him to contact Jack Valenti, president of the Motion Picture Assn. of America, through his (then) corporate partner Eugene Giaquinto. The three met at the Beverly Hills Hotel where Nichols attempted to sell Valenti manuscripts disclosing top secret CIA technology.

Nichols later said Valenti refused the manuscripts because they contained "classified national security information." (Valenti once served as assistant to President Lyndon B. Johnson).

An Evil Magician

There was an evil magician. He lived deep in the mountains and the forests, and he had thousands of sheep. But the problem was that the sheep were afraid of the magician because every day the sheep were seeing that one of them was being killed for his breakfast, another was being killed for his lunch. So they ran away from the magician's ranch and it was a difficult job to find them in the vast forest. Being a magician, he used magic.

He hypnotized all the sheep and suggested to them first of all that they were immortal and that no harm was being done to them when they were skinned, that, on the contrary, it would be very good for them and even pleasant; secondly he suggested that the magician was a good master who loved his flock so much that he was ready to do anything in the world for them; and in the third place he suggested to them that if anything at all were going to happen to them it was not going to happen just then, at any rate not that day, and therefore they had no need to think about it.

He then told different sheep...to some, "You are a man, you need not be afraid. It is only the sheep who are going to be killed and eaten, not you. You are a man just like I am." Some other sheep were told, "You are a lion -- only sheep are afraid. They escape, they are cowards. You are a lion; you would prefer to die than to run away. You don't belong to these sheep. So when they are killed it is not your problem. They are meant to be killed, but you are the most loved of my friends in this forest." In this way, he told every sheep different stories, and from the second day, the sheep stopped running away from the house.

They still saw other sheep being killed, butchered, but it was not their concern. Somebody was a lion, somebody was a tiger, somebody was a man, somebody was a magician and so forth. Nobody was a sheep except the one who was being killed. This way, without keeping servants, he managed thousands of sheep. They would go into the forest for their food, for their water, and they would come back home, believing always one thing: "It is some sheep who is going to be killed, not you. You don't belong to the sheep. You are a lion -- respected, honored, a friend of the great magician." The magician's problems were solved and the sheep never ran away again.'

-Gurdjieff 

The Man Who Invented Flying Saucers

flying saucers, UFO's, Ray Palmer and Jinn




Palmer assigned artists to make sketches of objects described by readers and disc-shaped flying machines appeared on the covers of his magazine long before June 1947. So we can note that a considerable number of people - millions - were exposed to the flying saucer concept before the national news media was even aware of it. Anyone who glanced at the magazines on a newsstand and caught a glimpse of the saucers-adorned Amazing Stories cover had the image implanted in his subconscious. In the course of the two years between march 1945 and June 1947, millions of Americans had seen at least one issue of Amazing Stories and were aware of the Shaver Mystery with all of its bewildering implications. Many of these people were out studying the empty skies in the hopes that they, like other Amazing Stories readers, might glimpse something wondrous. World War II was over and some new excitement was needed. Raymond Palmer was supplying it - much to the alarm of Lt. Lyon and Fred Crisman. 

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Interesting thing is, in the crucial boilover during 1945-1952, the reports of UFOs fall neatly into two groups- globs of light and physical craft resembling known Nazi designs...

Dave Chappelle on the NWO.