The elite television anchor: center of the psyop07/08/2014 23:17
By Jon Rappoport | Jon Rappoport’s Blog
“In acting, sincerity is everything. If you can fake that, you’ve got it made.” (George Burns)
Reality is a psychological operation.
Socio-political reality basically means some group has force, money, and access to fawning media. They can define what exists.
A psyop depends on being able to engineer one story line.
A psyop depends on selling one centralized story.
If, magically, overnight, you found yourself in possession of overwhelming force and a direct pipeline to elite media anchors, you could tell your story about what exists, and you would find millions of people believing you.
What would happen if the three major networks, each with considerable power, had come up with three vastly different versions of the Boston massacre?
CBS: “FBI and local police killed one terrorist and captured the other in what observers are calling one of the bravest days in the history of law enforcement in America.”
NBC: “After a violent gun battle on the streets of a great American city, during which a suspect in the Boston massacre was killed, an FBI source stunningly revealed the Bureau had shifted the blame on to their own cooperating informants. The source put it this way: ‘The Tsarnaev brothers were recruited by a secret Bureau unit to plant the bombs. The plan was to blame the bombing on so-called patriots, but that fell through, so the Bureau exercised their only option. They put their own informants front and center and called them terrorists…’”
ABC: “Today, the tragic loss of life and wounding of more than 180 persons at the Boston Marathon were partially redeemed, when, amazingly, Boston police traced three pipe bombs to a CIA storage locker in Maryland…”
Suppose, in the midst of an uproar heard and echoed around the world, the networks stood by their contradictory versions of events and wouldn’t back down?
A massive blow would hit psyop-land. Centralized story? Poleaxed.
People wouldn’t know what to do. They expect one story line and they get three, from the highest hypnotic and influential media giants.
In a literal, though unconscious, sense, familiar time and space begin to fall apart.
But actually, it’s far more surreal for the three major television networks to agree on the substance of every significant event than to come to radically different conclusions.
Unfortunately, people don’t see it that way. They don’t see that three behemoths dispensing the same information are key elements in thought-police fascism. They don’t see that the consensus is arranged.
“Bargain price! We’ll shave down your perceptual field so you can fit in with eight billion androids. You’ll never miss what you can’t see. On a scale from 0 to 10, your creative impulse will be coming in at about .06. That’ll cement you right into the limited spectrum, where all the action is. Yes, folks, there really is a sense of family in this reality. People liking people. We’re all in this together. Remember, life is better when you see what we want you to see! It takes the pressure off. Do you really care about what you think? Don’t you want to be fixed, so you can think what everybody else thinks? Now that’s a real program. Once we lock you in and reshuffle your electromagnetic fields, you’ll emerge with our new Sameness system. You’ll see what your friends see with just a bit of difference, to make it interesting…”
In a country in which art has little or no perceived value, there’s a sucker born every millisecond. Why? Because when consciousness of art is nil, people accept official art, which is always present, as the guiding and only reality. And of course, they don’t see it as art.
“Things can’t be any other way. This is it.”
Nowhere is this truer than in television news.
It’s not only the content of news that is embraced, it’s the style, the manner of presentation—and in the long run, the presentation is far more corrosive, far more deadly than the content.
The imitations of life called anchors are the arbiters of style. How they speak, how they look, how they themselves experience emotion—all this is planted deep in the brains of the viewers.
Most of America can’t imagine the evening news could look and sound any other way.
That’s how solid the long-term brainwashing is.
The elite anchors, from John Daly, in the early days of television, all the way to Brian Williams and Scott Pelley, have set the tone. They define the genre.
The elite anchor is not a person filled with passion or curiosity. Therefore, the audience doesn’t have to be passionate or filled with curiosity, either.
The anchor is not a demanding voice on the air; therefore, the audience doesn’t have to be demanding.
The anchor isn’t hell-bent on uncovering the truth. For this he substitutes a false dignity. Therefore, the audience can surrender its need to wrestle with the truth and replace that with a false dignity of its own.
The anchor takes propriety to an extreme: it’s unmannerly to look below the surface of things. Therefore, the audience adopts those manners.
The anchor inserts an actor’s style into what should instead be a relentless reporter’s forward motion. Therefore, the audience can remain content in its own related role: watching the actor.
The anchor taps into, and mimics, that part of the audience’s psyche that wants smooth delivery of superficial cause and effect.
Night after night, the anchor, working from a long tradition, confirms that he is delivering the news as it should be delivered, in both style and substance. The audience bows before the tradition and before him.
From their perch, the elite television anchors can deign to allow a trickle of sympathy here, a slice of compassion there.
But they let the audience know that objectivity is their central mission. “We have to get the story right. You can rely on us for that.”
This is the great PR arch of national network news. “These facts are what’s really happening and we’re giving them to you.” The networks spend untold millions to convey that false assurance.
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