The New World Order, designed around a functional police state that is encouraged by continuous popular cultural messages, is apparent to even the most avid establishment apologist. Liberty and freedom, hardly ever mentioned in a positive light by the mass media, is a direct threat to the ruling class. The proliferation of degenerate behavior is lauded so that those who object to such conduct will be demeaned as outcasts of the decadent society. The imposition of a police state is necessary to coerce decent people into forced obedience.
Cultural celebrities and icons come and go, but their art often rings on for good or bad. Political propaganda, embedded in media projects, has transcended subliminal messages and now emphasizes in-your-face brashness. The breakdown of the traditional value society is so complete, that what was once viewed as insulting political disinformation now passes as a promotion for a loyalist NWO drama.
Instead, Homeland presents a retuned version of the same unshakeable assurance that, even when things are really complicated, American values are the fairest, the most right and the best. Sure, the series shows US forces doing terrible things: covering up a drone attack that kills civilians in Iraq; trigger-happy in a US mosque, leaving innocents dead there, too. But these are presented as necessary acts in pursuit of far worse crimes.
Homeland’s core message is that the US means well, but sometimes has to do bad things; while the Arab and/or Muslim enemy doesn’t mean well and hence does unfathomably bad things. Not much of a progression really, is it?
When the postmortem of the Patriot Act era is dissected, the treason of intelligence community operations will be written in their full horror. The police state glorified in Homeland episodes is meant to prepare the public for the next stage of centralized oppression.
While cable or broadcast TV is so removed from Little House on the Prairie, today’s programming is designed to facilitate the psychological acceptance of the transition into a maximum lockdown prison society.
In the essay, Mass Mind Control Through Network Television, Alex Ansary warns of the prison industrial complex.
Turn on your local newscast. You have a few minutes of blue-collar crime, hardly any white collar crime, a few minutes of sports, misc. chit chat, random political jibber-jabber, and a look at the weather that no one is forecasting correctly. Is that what happened in your town? And we’re supposed to own the airwaves! The mainstream media openly supports the interests of the prison industrial complex. The stories focus on minority criminal groups, and exploit the real threat to appear much more dangerous than they are. Think about the growing per capita number of prisoners in the country. Then remember that this is happening at the same time that our prison boom began. The police on our streets have created criminals. The focus is to keep us in a state of fear, that way the elitists can attack any group they want to without fear of consequence. This is why the media is continuing to craft the timeless art of dehumanization.
The cutting edge of mind control has long included the use of music and lyrics that produce subconscious meanings. Now the fascist messages in street music indoctrinate not only the youth but target to reinforce the despotic aspirations of TSA flunkies.
The article, The Transhumanist and Police State Agenda in Pop Music, provides two examples of globalist messages disguised as performances by Rihanna and Beyonce.
In hip-hop slang, the term “hard” usually refers to someone who is street-savvy, gritty, rebellious and who is decisively “not down with police”. Hard transposes this term to a military context. Her militaristic video features a gang of uniformed men dancing under the orders of “General Rihanna”. We’ve come a long way from Public Enemy’s Fight the Power…it is now Submit to the Power. All of this military/dictatorial imagery is mixed with Rihanna’s sexy moves and outfits, appealing to the masses’ basest instinct: sex.
Beyonce walks on stage with a bunch of men dressed in riot gear… the type of unit a police state would use to repress opposition during popular turmoil. What are they doing in Beyonce’s performance? Contributing to permeate popular culture with police-state imagery.”In the follow-up account, you can read the description mentioned in this report.
Two recent examples of the perpetuation of the police state agenda in popular culture are Jay-Z and Kanye West’s music video No Church in the Wild and Adam Lambert’s Never Close our Eyes. In spite of, or perhaps because of, the fact that these songs are two different genres that aim to reach two different markets, they both contribute to the saturation of popular culture with police state imagery. While the authorities are not necessarily portrayed as the “good guys”, they are nevertheless there, as if their presence at any kind of public demonstration is normal.”
Contrast this dark brute force portrayal, with an age of optimism and hope. The peace and love themes in the music and political actions of John Lennon offer a rudimentary alternative to the grisly atrocities that the establishment commits routinely in the name of national security.
Gangster rap has little in common with All You Need is Love.
Rebellion of youth is natural, but resigned acceptance for submission to the police state is repression. The thirty-two years since his assassination has been one long road into oblivion. Read the “Interview With Investigative Reporter Jack Jones” for insights into the elimination of a dangerous messenger of peace. What a long way away from John Lennon’s lyrics in the song Revolution.
Well, you know
We all want to change your head
You tell me it’s the institution
Well, you know
You’d better free your mind instead
But if you go carrying pictures of Chairman Mao
You ain’t gonna make it with anyone anyhow
Now, transition from the mental liberation of the Beetle era, and go back and examine the overt war crimes of the premier American despot, Abraham Lincoln. Biographer and jingoism jezebel LBJ groupie, Doris Kearns Goodwin’s book, Team of Rivals: The Political Genius of Abraham Lincoln served as the backdrop of Steven Spielberg’s production of the recent released Lincoln film.
Alec Ryan writes in the American Renaissance:
In the modern Hollywood narrative, all American history revolves around the Sacred Black Experience. Lincoln confirms this, bending historical truth to paint the most ruthless, bloody-minded, strong-willed American leader in history as some kind of smug, pre-post-modern storyteller croaking gamely through the difficulties like a paleface Obama sans teleprompter. The few Southerners are snarling, greasy bigots, recoiling before the erect, scowling black Union guards as they slink by during a meeting that led to the Hampton Roads peace conference of February 1865.
The film has throughout a sense of hushed awe, as if kowtowing to its own self-evident righteousness. There is no balance, no complexity, no sense of inner struggle or desperation. No opposing arguments. Its simplistic outlook more closely resembles the popcorn-psychology Avengers or Justice League rather than the serious historical movie that it clearly wishes to be acclaimed.
The point of evaluating the worship adoration of the destroyer of the Republic with the authoritarianism of the newly re-elected president is to equate the despotism of both of their regimes. The imposition of the police state is part of the master plan to enslave the inherent autonomy of free citizens.
The insidious popular culture strips the institutions of traditional constitutional protections and separations of powers by diminishing the will of sovereign citizens to fight tyranny. The goal of imposing savage dehumanizing ruthlessness seeks to spread the Sons of Anarchy mindset into positions of authority. The merging of law enforcement into the ranks of criminal organizations becomes a common occurrence in the police state environment.
Once upon a time, the peace officer maintained order and balance. Now law enforcement deems that natural rights are arbitrary and conditional on obedience to government dictates.
911 provided the excuse to inflict a “War of Terror” under the disguise of national security. The Homeland program scripts that foster the ends justify the means are repugnant to every liberty advocate. Each day, the evolving police state is becoming more invasive and punitive.
A culture that glorifies jack-booted thugs that order innocent citizens around as sinister terrorists destroys the essence of the nation. The New World Order essentially uses depressing indoctrination of the inevitability for submission to their mind-game matrix.
The walking dead that accept a dependent society administered by bureaucratic goons, willingly tolerate a fate of bondage. Since texting is all the rage and the written language is sorely deficient, maybe the best way to communicate though the popular culture is to withdraw from the experience as much as possible. Try one-on-one contact; you might be surprised with the results.
SARTRE is the pen name of James Hall, a reformed, former political operative. This pundit’s formal instruction in History, Philosophy and Political Science served as training for activism, on the staff of several politicians and in many campaigns. A believer in authentic Public Service, independent business interests were pursued in the private sector. Speculation in markets, and international business investments, allowed for extensive travel and a world view for commerce. SARTRE is the publisher of BREAKING ALL THE RULES. Contact email@example.com