bureaucracybusters

THE MEDIA–NOT ITS AUDIENCE–CAN’T HANDLE THE TRUTH

In Bureaucracy, Business, History, Politics, Social commentary on November 9, 2017 at 1:18 am

In the 1992 courtroom drama, “A Few God Men,” Jack Nicholson, as Marine Colonel Nathan Jessup, utters a line that has since become famous.

When his prosecutor, Lieutenant Daniel Kaffee (Tom Cruise) demands the truth about the murder of a fellow Marine, Jessup shouts: “You can’t handle the truth!”

Related image

Jack Nicholson in “A Few Good Men”

Apparently, many of those who work in the television news business feel the same way about their audience.

[WARNING: This column contains some words that some readers may find offensive.  Read on at your own risk.]  

On February 9, businessman Donald Trump scored a new blow at his Rafael “Ted” Cruz, his closest rival for the Republican Presidential nomination.

Speaking at a rally in Manchester, New Hampshire, Trump attacked Cruz, the United States Senator from Texas, for being unwilling to support the widespread use of torture against America’s Islamic enemies.

“He’s a pussy!” yelled a woman in the crowd.

Apparently a certain portion of the attendees didn’t hear–or misheard–the insult. So Trump–pretending to be shocked–repeated it for them:

“She said–I never expect to hear that from you again!  She said: ‘He’s a pussy.’ That’s terrible.”

“What kind of people do I have here?” joked Trump, clearly playing to the boisterous crowd.

Donald Trump

The incident went viral on social media. But all the major TV news outlets–for ABC, CBS, CNN and NBC–bleeped the word and/or coyly referred to it as “the P-word.”

It was as if they assumed their viewers would of course know what had been said despite the networks’ censorship of it. And if viewers didn’t already know what the woman–and Trump–had said, the networks weren’t going to enlighten them.

Of course, “the P-word” could just as easily have been “prick” or “pervert.” So it’s understandable that many viewers might have thought a very different word had been used.

No doubt the networks hoped to avoid offending large numbers of viewers.

But when the use of certain words becomes central to a news story, editors and reporters should have the courage to reveal just what was said. It should then be up to the audience to decide if the language was offensive–and, if so, if its user deserves condemnation.

The evening news is–supposedly–aimed at voting-age adults. And adults need–and deserve–the hard truth about the world they live in. Only then do they have a chance to reform it–if, in fact, they decide it needs reforming.

Those who wanted to learn–rather than guess–what Trump had repeated had to turn to the Internet or to a handful of news source such as Vox: Policy and Politics.

In their defense, the networks could argue that the Federal Communications Commission, which regulates radio and television, does not usually permit the word “pussy” to be aired between 6 am and 10 pm.

On the other hand, immediately after the 9/11 terror attacks, all the major TV networks endlessly replayed the destruction of the World Trade Center, with the resulting deaths of hundreds of men and women.

Censorship, then, tends to center on two types of subject material:

  1. Sex, or “obscenity,” which is sex-related; and
  2. Race, meaning racial slurs that would offend some minority group.

An example of race-related censorship occurred during the short-lived administration of President Gerald R. Ford.

During a lull in the 1976 Republican convention, entertainer Pat Boone asked Earl Butz, then Secretary of Agriculture: Why was the party of Lincoln having so much trouble winning black votes for its candidates?

“I’ll tell you what the coloreds want,” said Butz. “It’s three things: first, a tight pussy; second, loose shoes; and third, a warm place to shit.”

Image result for Images of Earl Butz

Earl Butz

Unknown to Butz, a Rolling Stone reporter was standing nearby. When his comments became public, Butz was quickly forced to resign.

Meanwhile, most TV and print media struggled to protect their audiences from the truth of Butz’ racism. Many newspapers simply reported that Butz had said something too obscene to print. Some invited their readers to contact the editors if they wanted more information.

TV newsmen generally described Butz’ firing as stemming from “a racially-offensive remark,” which they refused to explain.

In short: A high-ranking government official had been fired, but audiences were not allowed to judge whether his language justified that termination.

Forty years later, TV news viewers were again prevented from reaching their own conclusions about Trump’s repetition of the slur aimed at his rival.

Nor is there any guarantee that such censorship will not occur again.

Censoring the truth has always been a hallmark of dictatorships. It has no place in a democracy–despite the motives of those doing the censoring.

The ancient historian, Plutarch, sounded a warning that remains timely:

“And the most glorious exploits do not always furnish us with the clearest discoveries of virtue or vice in men; sometimes a matter of less moment, an expression or a jest, informs us better of their characters and inclinations, than the most famous sieges, the greatest armaments, or the bloodiest battles whatsoever.”

In a democracy, citizens must be alert for those tell-tale expressions or jests. And this demands that the media, in turn, have the courage to bring those truths to their attention.

 

  1. HOW JEWISH IS HOLLYWOOD?
    By Joel Stein

    I have never been so upset by a poll in my life. Only 22% of Americans now believe “the movie and television industries are pretty much run by Jews,” down from nearly 50% in 1964. The Anti-Defamation League, which released the poll results last month, sees in these numbers a victory against stereotyping. Actually, it just shows how dumb America has gotten. Jews totally run Hollywood.

    How deeply Jewish is Hollywood? When the studio chiefs took out a full-page ad in the Los Angeles Times a few weeks ago to demand that the Screen Actors Guild settle its contract, the open letter was signed by: News Corp. President Peter Chernin (Jewish), Paramount Pictures Chairman Brad Grey (Jewish), Walt Disney Co. Chief Executive Robert Iger (Jewish), Sony Pictures Chairman Michael Lynton (surprise, Dutch Jew), Warner Bros. Chairman Barry Meyer (Jewish), CBS Corp. Chief Executive Leslie Moonves (so Jewish his great uncle was the first prime minister of Israel), MGM Chairman Harry Sloan (Jewish) and NBC Universal Chief Executive Jeff Zucker (mega-Jewish). If either of the Weinstein brothers had signed, this group would have not only the power to shut down all film production but to form a minyan with enough Fiji water on hand to fill a mikvah…

    The Jews are so dominant, I had to scour the trades to come up with six Gentiles in high positions at entertainment companies. When I called them to talk about their incredible advancement, five of them refused to talk to me, apparently out of fear of insulting Jews. The sixth, AMC President Charlie Collier, turned out to be Jewish.

    As a proud Jew, I want America to know about our accomplishment. Yes, we control Hollywood. Without us, you’d be flipping between “The 700 Club” and “Davey and Goliath” on TV all day.

    So I’ve taken it upon myself to re-convince America that Jews run Hollywood by launching a public relations campaign, because that’s what we do best. I’m weighing several slogans, including: “Hollywood: More Jewish than ever!”; “Hollywood: From the people who brought you the Bible”; and “Hollywood: If you enjoy TV and movies, then you probably like Jews after all.” …

    HOW PEDOPHILIA CAME TO HOLLYWOOD
    BY BILLY WILDER

    Screenwriter and director, Billy Wilder, has had an enormous impact on the public, as substantiated by his numerous Oscars and other film awards. Responsible for famous films like Hold Back the Dawn, Five Graves to Cairo, Double Indemnity, The Lost Weekend, Sunset Boulevard, Stalag 17, Sabrina and The Apartment, Wilder’s cinema successes were granted him as he was just another pawn who was utilized with evil acumen to help abolish society’s established code of ethics. His own authorized biographer who worked closely with him, Maurice Zolotow, wrote:

    “Of course, I did not know what I was getting into when I had started this. It became, as all such journeys have become, a journey to find out the secret springs of this most devious and perverse of Hollywood’s personalities.”

    Wilder loved to transport the viewer into the depravity of his own heart and did this by tricking the censors who sought to enforce the old Hollywood Production Code of Hollywood’s “Golden Age.” Wilder recalls, “We had to operate cunningly to outwit the censors and this made us write more subtly.” What subtleties did he scatter throughout his films? Perversion. In his movie, The Major and the Minor, Wilder admits that the motif was child sexuality, stating:

    “Ray Milland falls in love with Ginger as a twelve year old child. We had here the first American movie about pedophilia. The Major is sexually aroused by her. He can’t help himself. I was worried that audiences would be shocked by this story, but it seems that they were not.”

    This goes to show that if a story is entertaining and “cute,” it can bypass the normal reaction to such filth and translate into apathetic disregard on the slippery slope of corruption. Where did this movie minister of perversion receive his material? Wilder was given his creative material by another supernatural force. In addition to stating that he is “demonically possessed and slightly crazed,” Zolotow reports of Wilder:
    “He could not stop his creative machinery from functioning. He was enslaved by his art…One sometimes felt as if one were moved by powerful invisible forces. I forgot to tell you that Wilder never starts a new screenplay without typing two words on the first page: Cum Deo (‘With God’). He has a pantheistic feeling about the universe.”

    Demon possession leads many from the truths of God to the pantheistic lies of the New Age movement because Satan uses those who will serve him most faithfully in preparing humanity to embrace him as the god of this world. Wilder’s responses upon completion of his show make it readily apparent which god he aligned himself with. Scientologist screenwriter of the Sound of Music, Ernest Lehman, recalls:

    “He looked at the heavens and screeched F— you!” It was…a victory cry, as if he were calling out to God and saying,

    ‘I completed this picture despite everything you did to make me surrender.’”

    Dr. Lycurgus Starkey rightly announced on the NBC network: “His movies have overturned all the sexual mores, glorified promiscuity, glamorized prostitution and elevated adultery to a virtue.” Dr. Starkey was prophetically right in predicting the social effect and outcome of Wilder’s films that we currently face in our day. The atheist author of communism, Karl Marx, explains the reasons why this is so:

    “The ideas of the ruling class are, in every age, the ruling ideas: i.e., the class which is the dominant material force in society is at the same time its dominant intellectual force. The class which has the means of material production at its disposal has control at the same time over the means of mental production.”

    The gross immorality in Hollywood that makes its way on the screen and thus influences the masses reflects the lives of those who operate within it. An intimate friend of the late Steve McQueen related:

    “He’d kill for a part in a movie…he’d suck anyone’s [expletive]…he’d get f—– or f— anyone who’d get him a part in a show…then he’d wish-he’d pray- that person would have a heart attack or a stroke and die, and then there would be no way for anyone to know how McQueen had got the part.”

    This disgusting ambition is what keeps the infamous casting couch warm and desirous hopeful actors willing. Hollywood insider, Phyllis Diller, clarifies this fact:

    “The casting couch is the name of the game in Hollywood. I know there are stars, especially women, who have made a career from sexual favors.”

    Would you invite a person whom you knew to be ethically bankrupt and an absolute moral degenerate into your home to influentially instruct your wife, your husband, and your children or loved ones? These are the very ones that America invites into their home every night via the television to submissively share their lives with.

    Faye Dunaway said that the ghost of Joan Crawford is haunting her. Actress Jean Seberg believed that her “devils” kept her from ever being free. She stated:

    “The devils will stop that sort of stuff in a second. They ride right here. (Touching her collar bone with her fingers) Sitting here and here. There’s one on each side…these are both unfriendly influences. They tell me to run my car into other cars, or drive off a cliff.”

    A friend later reflected on her life and pin pointed the cause as the “acting classes at Columbia Studios…[which] had the power to influence Jean’s devils.” Like countless others in the Hollywood movie star system, this lead to psychiatric hospitals and suicide. Actor Sal Mineo was in regular contact with psychics and spoke of the “vibrations” of James Dean’s spirit that haunted him, stating, “I’ve got to get him off my back because I don’t want to join him down there.” Mineo was murdered under mysterious circumstances. Is fame worth the extorted fees that Satan demands of his servants of the silver screen?

    As Alan Alda declared:

    “There’s plenty of money to be had…But you also lose your soul.”

    MEDIA IS JEWISH PROPAGANDA

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