
We’re sorry/ Fake news…



NextGov recently reported that the Federal Communications Commission (FCC) wants to have the ability to interrupt streaming platforms like YouTube, Hulu, Netflix, Spotify and Pandora so they can broadcast “government safety alerts.”
“Per the 2021 National Defense Authorization Act (NDAA), the FCC is investigating redefining parts of the national Emergency Alert System, or EAS, and Wireless Emergency Alert System, or WEAS, including developing alerting requirements for online streaming platforms.”
An emergency 9/11 Act has been transformed into a 2021 privacy destroying act. The Feds want the public’s opinion on what they think about allowing government agents access to what Americans are watching on streaming services.
“The commission issued a notice of inquiry this month and will publish an official request for public comment Tuesday in the Federal Register to determine “whether it would be technically feasible for streaming services to complete each step that EAS participants complete under the commission’s rules in ensuring the end-to-end transmission of EAS alerts, including monitoring for relevant EAS alerts, receiving and processing EAS alerts, retransmitting EAS alerts, presenting EAS alerts in an accessible manner to relevant consumers, and testing,” according to the notice of inquiry.”


For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War. In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art – President Truman summed up the popular view when he said: “If that’s art, then I’m a Hottentot.” As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.
Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.


The primary obstacle in getting people to realize that they are being propagandized by our rulers is their unquestioned assumption that if there were a mass-scale narrative management operation geared at manufacturing consent for the status quo, they would have heard about it in the news or learned about it in school.
And, of course, they would not have, because both the plutocratic media and the modern schooling system are designed to indoctrinate people into accepting the status quo. From the time we are children our minds are deliberately and systematically warped to psychologically align us with the interests of the ruling class, and then we are passed on to the news media to ensure that we are continually shaped and reshaped in real time throughout our adult lives based on the specific needs of the oligarchic empire from year to year. A brainwashing institution is never going to teach you to be skeptical of their brainwashing.
Our indoctrination into the establishment worldview is not just in training us to espouse certain beliefs and think a certain way, it’s in training us to look to the sources of our indoctrination for guidance throughout our lives. What do we do when we are unsure about something, class? That’s right, we go to reliable, authoritative sources like The New York Times, The Washington Post, CNN, and any other outlet that has consistently supported every war we’ve ever been deceived into by our rulers.
Our indoctrination isn’t just in what to think, it’s in how to think.
Standing against the scorching blue backdrop at the EU podium in late 2017, then British Prime Minister Theresa May mendaciously promised to “counter [Russian] disinformation” in all the former Soviet republics of Eastern Europe, Eurasia and the Baltics by pledging €110 Million ($130 Million) over five years to fight the Kremlin’s influence in the region.
A massive data leak published by the Anonymous hacktivist group this past February has revealed how some of that money was used to create and disseminate disinformation, alternate narratives and effectuate the outright manipulation of media by the UK’s Foreign, Commonwealth & Development Office (FCDO) through a number of partnerships with stalwart disinformation outfits like Bellingcat, established information warfare specialist firms like the Zinc Network among dozens more that were working in secret with the governmental entity responsible for promoting British interests around the world.
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