A Proper Gander At Propaganda


PLEASE NOTE: This is not a conspiracy theory blog.

This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

Thank you for taking the time to read this,

AA "The Proper Gander" Morris

Article Index Link 

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Faking World War Two: Ronald Reagan Targets Tokyo


Target Tokyo: Obliterating The Boundaries Between Illusion & Reality

"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality."


Ronald Reagan Targets Tokyo: Narrating A Mass Snuff Film

Hollywood Goes To War & Never Returns

The self proclaimed "Super Powered" Governments of the world are a lot less powerful than they need or want any of us to understand.


War Stars: The Superweapon and the American Imagination

"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.” As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”

source: War Stars: The Superweapon and the American Imagination

"One of the war's best-kept secrets was a film called "Target Tokyo," which Reagan narrated. It simulated an actual air raid on Japan. Special-effects men were flown to Washington for briefings on every known landmark--cemeteries, rice paddies, factories, geisha joints."

"The first fire-bomb target simulated was Ota, where Nakajima was mass-producing the deadly new fighter plane, Ki-84. From match sticks, piano wire, plaster and cheesecloth, the FMPU's model makers replicated the entire route to Ota."

"Above the 90-by-90-foot scale model swung a camera crane with a clever synchronous interlock drive designed by Sgt. Don Klopfel. Cotton clouds were added for further realism."


From Sawdust to Stardust: The Biography of DeForest Kelley, Star ...

The Essential Ronald Reagan: A Profile in Courage, Justice, and Wisdom


Hollywood Exists To Maintain The Fictional Need For All The Layers of Government We Do Not Need

The Twentieth Century birthed the commercial religion of the "post modern" Nation state.

Religions require cultural artifacts. National holidays and National sport team events and all sorts of National government heroes are examples of these kinds of constructs. Hollywood and the rest of the mainstream media essentially exist to maintain the myths of our shared governmental religious heritage. Social constructs bind human imagination to a very inhuman system of needless and fallacious fees, fines and jail time.




All The World's A Staged Event With An International Cast

List of actor-politicians - Wikipedia

Celebrities turned politicians | Newsday

IMDb: List of Actor Politicians


"When President Reagan roamed Ft. Roach as a member of the Culver City Commandos"

May 22, 1985 by Jack Smith, LA Times

"My old friend and colleague Don Dwiggins has dug up some little-known information about Ronald Reagan's military service in World War II.

Reagan did not run for office as a war hero, of course, but the President happened to be in Strasbourg, France, on the recent 40th anniversary of V-E Day, and like any old veteran, he was moved to reminisce.

"On that day 40 years ago," he said, "I was at my post in an Army Air Corps installation in Culver City, Calif. Passing a radio, I heard the words, 'Ladies and gentlemen, the war in Europe is over.' I felt a chill, as if a gust of cold wind had just swept past. . . ."

Dwiggins has turned up a few anecdotes of Reagan's service in researching "Hollywood Pilot," his biography of Paul Mantz, the best known of Hollywood's fabulous stunt fliers.

Mantz happened to be head of the FMPU (First Motion Picture Unit), better known as the Culver City Commandos, which was based at the Hal Roach studios (Ft. Roach).

Reagan's career on active duty started inauspiciously. A second lieutenant in the Army Reserve, he was called to active duty as a cavalry officer and reported to Ft. Mason, San Francisco. Encountering his commanding officer, Col. Phillip Booker, at the Officers' Club, Reagan saluted and said, "Colonel, you and I have something in common."

"How's that, Reagan?" the colonel said.

Reagan explained: "I understand you're a graduate of Virginia Military Institute. I once played in a picture about VMI, called 'Brother Rat.' "

"I saw that, Reagan, and nothing ever made me so damned mad!"

Reagan was soon transferred to Culver City. On the scene, he was amused by the spectacle of colonels saluting privates in Western Costume uniforms who were playing generals.

The future President helped meet a crisis one day when Gen. Hap Arnold, commander of the Air Corps, asked if FMPU could put together a film of outtakes to show at a Pentagon party--scenes where actors blew their lines, fell off horses and so on.

Col. Owen Crump, a producer in civilian life, called an emergency staff meeting and gave the unit's top writers, including Norman Krasna, 48 hours to come up with a script.

A week later Gen. Arnold's guests are sitting back at the Pentagon party. Lights dim. The film rolls. Reagan, playing an Air Corps general, is shown angrily chewing on a cigar and stabbing his pointer at a wall map, briefing a squadron of bomber pilots on a vital mission.

"This is our target for tonight!" he snaps. The wall map rolls up like a runaway window blind, and there stands a naked girl.

Dwiggins says that Sgt. Charles Tannen, a former actor, once told him, "Don, we won the war in spite of the FMPU--or maybe the Nazis and the Japs had their own motion picture units too!"

Tannen was a clever impersonator, and one night when Reagan had the duty he shook up the future President with a phone call:

"Uh, lieutenant," he said, "we all jus' arrived at Union Station from Ft. Leavenworth. I've got me 500 cavalry troops here with their horses. Would you kindly tell me the best route to Ft. Roach? And has the hay arrived yet?"

On another night when he had the duty, Reagan evidently got bored with inaction. Mantz found this entry the next morning in his log: "3 a.m.--Post attacked by three regiments of Japanese infantry. Led cavalry charge and repulsed enemy. Quiet resumed."

Once when reporting as duty officer, he found the notation: "Special Instructions Passed on to New Officer of The Day: 'New officer indeed,' " he wrote. "Did they see me in those West Point pictures?"

Pvt. Charlie Foy was on guard duty with Reagan one afternoon when a column of Culver City commandos marched past the flagpole. "Splendid, men!" Reagan shouted. "With half this many men we could take MGM!"

"Millions of feet of exciting combat film came in from overseas in 1943," Dwiggins writes, "leading Reagan to bet Capt. Eddie Gilbert, the writer, that the war would be over by Labor Day. When it didn't end, Reagan paid off the bet--$25."

Some of FMPU's top talent did go overseas, including Capt. Clark Gable, who rode with a B-17 crew on 25 missions. Gable barely escaped with his life on the last mission, when the bomber was hit 15 times by flak.

One of the war's best-kept secrets was a film called "Target Tokyo," which Reagan narrated. It simulated an actual air raid on Japan. Special-effects men were flown to Washington for briefings on every known landmark--cemeteries, rice paddies, factories, geisha joints.

The first fire-bomb target simulated was Ota, where Nakajima was mass-producing the deadly new fighter plane, Ki-84. From match sticks, piano wire, plaster and cheesecloth, the FMPU's model makers replicated the entire route to Ota. Above the 90-by-90-foot scale model swung a camera crane with a clever synchronous interlock drive designed by Sgt. Don Klopfel. Cotton clouds were added for further realism.

Reagan's voice narrated: "You are now approaching the coast of Honshu, on a course of 300 degrees . . . to your left, if you are on course, you will see a narrow inlet. . . ."

Rushed to Saipan, the film was chilling to see. "Uncannily accurate," the 21st Bomber Command reported. "It was as if a camera were mounted in the nose of a B-29 and had flown the entire mission beforehand."

When the war ended Reagan left the service with the rank of captain.

And now, of course, he's commander in chief."



The First Motion Picture Unit

"The First Motion Picture Unit (FMPU), later 18th Army Air Forces Base Unit, was the primary film production unit of the US Army Air Forces (USAAF) during World War II and was the first military unit made up entirely of professionals from the film industry. It produced more than 400 propaganda and training films, which were notable for being informative as well as entertaining. Films for which the unit is known include Resisting Enemy Interrogation, Memphis Belle: A Story of a Flying Fortress and The Last Bomb—all of which were released in theatres. Veteran actors such as Clark Gable, William Holden, Clayton Moore, and future President Ronald Reagan and directors such as John Sturges served with the FMPU. The unit also produced training films and trained combat cameramen. FMPU personnel served with distinction during World War II.

First Motion Picture Unit is also the eponymous title of a 1943 self-produced documentary about the unit narrated by radio and television announcer Ken Carpenter."

First Motion Picture Unit - Wikipedia

Lookout Mountain Air Force Station

Ronald Reagan - IMDb

Ronald Reagan - Wikipedia


Twentieth Century Film Technology, The True Secret of Star Wars is Born

The Military Industrial Entertainment, Mental Entrainment Complex™ Presents:

Actors As Presidents & Atomic Age Lookout Mountain Film Studios

"Los Angeles, California is the epicenter of the movie-making industry, so it should come as no surprise that the US military had its own studio in LA. Known as Lookout Mountain Air Force Station, or Lookout Mountain Laboratory, what made this studio special is that the films produced there were all classified."

"The studio was secretly established in 1947, though the Air Force has since stressed that the facility was used solely for the Atomic Energy Commission. During this time, cameramen, who referred to themselves as “atomic” cinematographers, were hired to shoot footage of atomic bomb tests in Nevada, Utah, New Mexico and the South Pacific. While the Air Force contends that these atomic features were the only movies made, it is believed that some 19,000 “films” were produced on Lookout Mountain between 1947-1969. That’s 500 more films than Hollywood produced during the same period, and only a few dozen of them have been declassified."

"Less scandalous, there is evidence that the military conducted many advanced research experiments for Hollywood studios, such as developing 3-D techniques and Vista Vision. Employees from big studios, such as Warner Brothers and MGM, were also known to frequent the lot. Additionally, Hollywood stars like Walt Disney, Marilyn Monroe, and even Ronald Reagan were given special clearance to use Lookout Mountain’s facilities, though the reason for their visits remain undisclosed."

"Though the studio employed over 250 people, its existence remained unknown to the general public until the 1990s. The studio was decommissioned in 1969. Today the 2.5-acre studio is a private residence and belongs to actor/musician Jared Leto, who is known for throwing parties in the area that echo the 1960s Laurel Canyon vibe."

Lookout Mountain Airforce Station – Los Angeles, California - Atlas ...

Lookout Mountain Air Force Station - Wikipedia


The Amazing "Historical" Adventures Of Three Presidentially Appropriate Men

History: Myth or Fiction?

Of World Wars, Lunar Landings & Presidential Scribblings

What did Ronald Reagan know about Fake News and when did he know it? Do all presidents know things the rest of us do not?

What did Reagan, Kennedy & Clinton have in common?



"Bill Clinton in his 2004 autobiography ‘My Life’ recounts how an old carpenter had told him he didn’t believe in the moon landing for a minute and that “them television fellers” could “make things look real that weren’t”. He said he wondered - once he’d been in power for eight years in Washington - whether the old man hadn’t been ahead of his time."


Of Presidents, Life Actors And Scripted World Theatrical Fictions: Historical Hoaxes Exposed

History Has Long Been Not Much More Than Manufactured Myth

"It has been suggested that perhaps the biggest fake marketing stunt of all time was the moon landing. Let’s look at the evidence. Teams of PRs and marketing people were hired by NASA for a national awareness campaign. On 20 July, 1969 at 20:18 UTC, 94% of all Americans turned on their TVs and were led to believe Apollo 11’s lunar module Eagle landed on the moon. Bill Clinton in his 2004 autobiography ‘My Life’ recounts how an old carpenter had told him he didn’t believe in the moon landing for a minute and that “them television fellers” could “make things look real that weren’t”. He said he wondered - once he’d been in power for eight years in Washington - whether the old man hadn’t been ahead of his time.

We’re supposed to believe that back in 1969 we could just pop out to the moon like popping round to the corner shop and yet, nearly 50 years later, Sir Richard Branson is still struggling with his childhood dream to take tourists into space. Or could it just have been a ‘Big Swinging Dick’ attempt - all orchestrated from a Hollywood sound stage - to outdo Russia at the height of the Cold War and convince America that spending four per cent of the national budget on NASA’s space programme was a good idea?"

"The PR industry has long resembled a Carry On film of fakery for vested interests wanting to influence and control an unsuspecting public. That aspect of the business was depicted brilliantly in the 1997 film ‘Wag the Dog’ starring Dustin Hoffman and Robert De Niro. Its cynical swipe at PR was less fiction, more fly-on-the-wall documentary.

In a recent paper published in Europhysics News four respected physicists struggled to understand why and how the unprecedented structural failures of the World Trade Centre towers on 9/11 occurred other than through a controlled demolition. George Bush was facing an election. Subsequent fears for national security rallied support for the status quo and helped ensure victory. For an insight into how fear industries control and manage swathes of the population, watch the 2004 film ‘The Village’."

Fake news? There's nothing new about it | The Drum


Fear Industries & Fake News

The Military Industrial News Complex Targets You


A Post Modern, World War Two Post Script: Presidents Are Actors On A Scripted World Stage

The role of President has obsolescence built in. The post World War Two Presidency is term limited. All the President gets is 4 to 8 years; the real fun and profit begins after the Presidential gig, not during. Presidents retire with quite the golden parachutes and plenty of new found and old time friends to fly around the globe to go golfing with. 

The Zapruder Film: An Early Animated Photoshop Chop Shop

Zapruder: The Most Famous Faked Snuff Film

Snuff film - Wikipedia

The 1960's: An Era Of Seemingly Staged Assassinations

The News Media is the medium for real terrorism and the governmentally backed News journalist is the true terrorist.

The Visual Evidence For JFK's Death Are Just Photographic Cartoons

Disney style photographic darkroom magic explains the "conspiracy" as nothing but scripted Hollywood fiction. History is more myth than fact.

The photographic evidence from that event represents nothing more than Military grade Hollywood style film making and darkroom fakery.

Even Lee Harvey Oswald's televised demise was a scripted, rehearsed and staged canard.

The true terrorists have always been the governmental backed News journalists.

Reality has long been augmented with fear based fantasy.


Compare The Watchmen film open with a recreation of the  Zapruder film to the actual thing below.

Please notice how the Watchmen version is not a photographic, two dimensional cartoon. Parallax is clearly evident. The original Zapruder film by comparison lacks the expected parallax.

The reflections on the side of the Presidential limousine seem to be of the motorcade itself and this indicates the use of some kind of front projection Hollywood special effect technique. 

Who Watches The Watchmen Intro & Who Has Viewed The Parallax View?

Watchmen - Intro  source: Bender Rodriguez

Zapruder Film Fakery:

Film tampering cannot explain what appears to be clear evidence of pre production and post production cartooning and film special effect techniques.

The evidence is overwhelming that the JFK assassination was simply a drill "gone live", a military operation that simulated reality. This most legendary assassination appears to be nothing more than scripted fiction, in what is a long line of fear based mythology "we the people" have been long exposed to. The true terrorists were  always the governmental backed News journalist and Hollywood financed visual con artist. Hollywood hearts government and war and referring to Hitler most of all. Hollywood and the maisntream News and related media exist to keep the world population stuck in a looped and eternal MATRIX-like past that never really existed in the first place.

The Post WWII Presidency is a 4 - 8 Year Gig: The Real Fun Begins Post-Presidency!

JFK - Stabilized Zapruder Film (HQ)  source: AlBoesch

Please note the side of the President's car.

The women lined up to see the motorcade are not reflected as expected, instead we see what appears to be the motorcade itself.


What is Parallax?

Parallax - Wikipedia

Parallax Explained  source: Ashvinder Suri


Front Screen Projection

FRONT SCREEN PROJECTION | Shanks FX | PBS Digital Studios  source: Shanks FX

Front projection effect - Wikipedia


The Mainstream Myth Making Media: The Terrifying Propaganda Generating Arm of Government

The mainstream media has long supported and promoted modern yellow journal myths like Bigfoot, UFOS, ET, Elvis sightings, and of course the JFK conspiracy market that must have raked in billions by now. The mainstream News media are the ones who have pushed all sorts of mythical conspiracies onto the public for years.

Major Hollywood film studios cash in on the interest. It's not easy to get financing for films, but Oliver Stone keeps churning out mythical fictions sold as some kind of version of historical fact. Hollywood loves images of vast destruction, 9/11, Nazis and war and government. Selling this love to the public is all that Hollywood exists for.

Fake news is as old as civilization and so is the art of apologetics.

JFK (film) - Wikipedia

World Trade Center (2006) - IMDb

Majority in U.S. Still Believe JFK Killed in a Conspiracy | Gallup

Poll: 62 percent believe broader plot killed Kennedy - The Washington ...


Oliver Stone: Propagandist

A Proper Gander At An Eternal Rabbit Hole That More Than Likely  Leads Nowhere

"For those who believe that the clues to who killed JFK are hidden somewhere deep inside the government's files, this may be the last chance to find the missing pieces. Under the terms of the 1992 JFK Records Act--a result of Oliver Stone's 1991 movie JFK, which revived fascination with the idea of a cover-up--the government was given 25 years to make public all related files. The time is up on Oct. 26, 2017. About 3,000 never-before-seen documents, along with 34,000 previously redacted files, are scheduled for release."

25th JFK Assassination Secrets Scheduled for 2017 Release | Time.com


The NY Times Presents:

DAMAGE CONTROL A Limited Hang Out Of Discrediting Information

Nothing like a little mainstream media promoted myth saving propaganda. Nothing like muddying the waters and confusing the public.

The propaganda tactic seems to be guilt by conspiratorial association.

Pizzagate like all the rest of the "gates" and other tabloid conspiracy marketed fodder are the products of the mainstream media, in one form or another.

Pizzagate is as Fake as the rest of the high profile News stories are. This particular media canard seems to exist as damage control.


Q: What does PIzzagate and the JFK conspiracy have in common?



The NY Times Presents:

"There Are No Child Sex Slaves at My Local Pizza Parlor"


"WASHINGTON — On any given day, locals flock to Comet Ping Pong, a pizza joint here not far from where I live, to eat, talk and, of course, play Ping-Pong. But last Sunday, a man armed with a military-style assault rifle and a pistol turned up for an entirely different reason: to see for himself whether the restaurant was indeed, as right-wing fake news reports and conspiracy websites have declared, the hub of a vile child sex-slavery ring masterminded by Hillary Clinton.

The absurdity of this story would be laughable if it hadn’t led a man to bring a rifle to a restaurant filled with families. And if it hadn’t resulted in an army of online terrorists harassing the owner, his employees and others along that block of Connecticut Avenue, accusing them of unspeakable crimes and even issuing death threats.

I’ve seen my share of conspiracy theories. My grandfather, who accidentally took a home movie of President John F. Kennedy’s assassination — now known as the Zapruder film — was implicated in some of the most delusional stories about that event: He had colluded with the C.I.A. to allow his film to be altered just days after the assassination; he had secret ties to Lee Harvey Oswald through a co-worker who later married Oswald’s close friend; and, wait for it, he was the one who pulled the trigger through an elaborate gun-as-camera mechanism at the bidding of the Jewish Mafia.

The government’s failure, in the historian Art Simon’s words, to come up with “a coherent and believable account of the assassination” left many gaps to be filled. While early assassination researchers performed a valuable function by making important information public, later conspiracy theorists relied on association and innuendo and cherry-picked details to build increasingly wild narratives.

If one outcome of Kennedy’s assassination was a loss of trust in government and the news media, we have now entered an era in which such suspicions have mushroomed into something far more dangerous — a rupture in the very idea of shared truth.

The crisis at Comet was averted when the gunman surrendered to the police before anyone was hurt. But the deeper problem remains. We are no longer talking about a relatively small group of Kennedy conspiracy theorists trading notes and publishing articles. We are talking about millions who are reading Reddit and 4chan, imbibing fabricated stories attributed to fictitious publications like The Denver Guardian and getting whipped into a fury of self-righteous anger that — given the easy access to guns in our society — may well result in violence.

Is there any way to reverse this trend? The mainstream news media can’t do a thing. If I learned one thing from trying to understand the Kennedy conspiracy theorists, it’s that it is impossible to dispel the amorphous cloud of suspicion. If you try, you are either a dupe or part of the cover-up — the cloud simply grows to include you. Nor, needless to say, is anyone from the Democratic Party going to be able to reason with those who are convinced that Mrs. Clinton is organizing a child sex-slave network through a pizza restaurant in Northwest Washington.

The president-elect, on the other hand, could make a difference. But Donald J. Trump and his team have legitimized rather than repudiated this kind of speculation. He embraced the so-called birther movement, claimed that he saw Muslims celebrating after the Sept. 11 attacks and tweeted that millions voted “illegally” for Mrs. Clinton. Just before the election, his pick for national security adviser, Lt. Gen. Michael T. Flynn, fanned the flames of the so-called Pizzagate conspiracy by tweeting about Mrs. Clinton and sex crimes and providing a link to a fake-news article.

U decide - NYPD Blows Whistle on New Hillary Emails: Money Laundering, Sex Crimes w Children, etc...MUST READ! https://t.co/O0bVJT3QDr

— General Flynn (@GenFlynn) Nov. 3, 2016

If Mr. Trump does nothing, could our new neighbor, Mike Pence, speak up? How about the Senate majority leader, Mitch McConnell; the speaker of the House, Paul Ryan; or Reince Priebus, the chairman of the Republican National Committee and future chief of staff to the president? Surely they see that assaults on truth are harmful to all of us, regardless of our political orientation. Why haven’t they and other responsible conservatives condemned these lies on the grounds that no one is safe in a world in which facts no longer have merit?

They should. And they should do it at Comet Ping Pong. They should stand in front of the restaurant and say that no matter how vehemently you disagree with Mrs. Clinton’s politics, there is no justification for accusing her of child trafficking. They should condemn “fake news” — which is a weak term for deep hatred that takes the form of a story — and encourage their supporters to do the same."



Governmental Conspiracy Myth Making: Keep The Profit Alive

"By the evening of November 22, 1963, I found myself being drawn into the case," Los Angeles businessman Ray Marcus wrote in "Addendum B," one of several self-published monographs he produced on the assassination. For him, authorities were just too quick and too pat with their conclusion.

"The government was saying there was only one assassin; that there was no conspiracy. It was obvious that even if this subsequently turned out to be true, it could not have been known to be true at that time."

Most skeptics, including Marcus, didn't get rich by publishing their doubts and theories — and some have even bankrupted themselves chasing theirs. But for a select few, there's been good money in keeping the controversy alive."

"JFK" took in more than $205 million at the box office, nearly two-thirds of that overseas, and has since raked in untold millions more in television royalties, pay-per-view, and videocassette and DVD rentals. The film is returning for brief re-runs in some New York and Los Angeles theaters.

In the April AP-GfK poll, respondents were asked how much of what they knew about the JFK case came from various sources. Only 9 percent cited movies or fictional TV shows, while the greatest portion, 37 percent, said history texts and nonfiction books.

A stream of new JFK-related titles has appeared on bookstore shelves in recent months. Among them is "They Killed Our President: The Conspiracy to Kill JFK and the Cover-Up That Followed," by former pro wrestler and Minnesota Gov. Jesse Ventura.

Other authors have reissued or expanded on previous works. Bugliosi, for instance, has a "Parkland" paperback to accompany the movie. And Posner's "Case Closed" is appearing for the first time as an e-book. Waldron just released "The Hidden History of the JFK Assassination.""

50 years on, finding profit in 'truth' on JFK case - The San Diego Union ...

JFK Assassination Conspiracy Theories Sell Lots of Books - WSJ


"WASHINGTON, D.C. -- As the 50th anniversary of President John F. Kennedy's assassination approaches, a clear majority of Americans (61%) still believe others besides Lee Harvey Oswald were involved. But this percentage is the lowest found in nearly 50 years."




"The Power of Myth is a book based on the 1988 PBS documentary Joseph Campbell and the Power of Myth. The documentary was originally broadcast as six one-hour conversations between mythologist Joseph Campbell (1904–1987) and journalist Bill Moyers. It remains one of the most popular series in the history of American public television."

"The companion book for the series, The Power of Myth (Joseph Campbell, Bill Moyers, and editor Betty Sue Flowers), was released in 1988 at the same time the series aired on PBS. In the editor's note to The Power of Myth, Flowers credits Jacqueline Kennedy Onassis, as "the Doubleday editor, whose interest in the ideas of Joseph Campbell was the prime mover in the publication of this book." "

The Power of Myth - Wikipedia


'The Power of Myth’, by Joseph Campbell


"A colleague recently mentioned that he was interested in Joseph Campbell, especially his research on the development of myths, legends and rituals throughout the ages. This triggered my interest in rereading Campbell’s classic, The Power of Myth, which he first published in 1988. The book is a record of a conversation Campbell had with Bill Moyers, the former US TV personality and journalist.

The essence of the conversation is about the universality and evolution of myth in the history of our societies up to the present moment. In studying myths and rituals across various societies, Campbell pointed out some of their similarities, and concluded that it was from here we became aware of some eternal truths of life.  But what are these myths and rituals that Campbell and Moyers were talking about, and what relevance do they have for us today? Myths are the body of legends and stories that belong to our different societies. 

Occasions such as wedding ceremonies, funerals, baptisms, Bar Mitzvah, church services, college graduations, Super Bowl, and Heineken Cup (Rugby) are all examples of the various types of rituals that take place during our normal lives."

"Campbell talked about the funeral of John F. Kennedy as a national ritual given to a dead president. This includes the religious rituals as well. Kennedy’s funeral mass at St. Matthew’s Cathedral in Washington is an example of religious ritual, even though the majority of citizens participating were not members of his church."

source: 'The Power of Myth', by Joseph Campbell - IESE Blog Network


"How Jackie Kennedy Orchestrated The Perfect Funeral"

"The lying-in-state of Kennedy's body in the Rotunda of the Capitol was modeled on that of Lincoln in 1865. The catafalque that had borne the Great Emancipator's coffin was brought out of storage and used again. No one was allowed to miss the historical significance of this restaging, which accorded to JFK in death a Lincolnesque moral stature in relation to African American advancement that he had not attained during his lifetime. So many ordinary citizens came to pay their respects that the Rotunda was held open all night long. More than a quarter of a million mourners, eight abreast filed past between 1:30 Sunday afternoon and 8:00 the next morning. 

Although the officials in charge followed the rule book for military and state funerals to the letter, Mrs. Kennedy added a number of personal touches and orchestrated the event. When she insisted on walking behind the caisson to the funeral mass rather than ride "in a fat black Cadillac," researchers were dispatched to the Library of Congress, where they were relieved to find in the volumes of yellowed newsprint verification that a precedent existed in the funeral procession of Presidents Washington, Lincoln, and Grant.

A more recent touch was the riderless horse carrying a pair of boots reversed in the stirrups. That funeral motif supposedly dates back to the time of Genghis Khan as a way to commemorate a leader lost in battle. It had been used for an American presidential funeral only once, eighteen years earlier, at the wartime death of Roosevelt. A gelding that ironically bore the name Black Jack — the nickname for Jackie's father — was led behind the flag-draped bier of the other Jack, her husband. As historian William Manchester describes it, "His streaming flanks were unnatural, alarming. His steel hooves clattered in jarring tattoo, an unnerving contrast to the crack cadence in front; his eyes rolled whitely. He was nearly impossible to control." The horse brought a note of barely tamed urgency to the proceedings, but he did not upstage the first lady. The funeral, attended by delegates from eighty-two countries (including eight heads of state and ten prime ministers) and watched live by hundreds of millions of people across the globe (it was broadcast even on Soviet state television), was Jackie's show from first to last.

No actress ever trod a greater stage before a larger audience, yet for this performance she was her own wardrobe mistress, her own makeup assistant, and even the music director, asking that the plangent sounds of the Black Watch bagpipers and the poignant navy hymn "Eternal Father, Strong to Save," both favorites of her late husband, be added to the program. Her ultimate touch was the idea of the eternal flame, which she lit at his grave."

"PERHAPS THE MOST ENDURING IMAGE from the funeral, if not from the entire assassination weekend, was one that Jackie played a major role in creating. It was John John's salute at the bottom of the cathedral steps. He was saluting the flag-draped coffin as it was affixed to the caisson, the same caisson that had borne Lincoln and Franklin Roosevelt. He was saluting his father and, in the sense explored above, the nation's father. He was saluting the commander in chief. Film footage of the moment reveals an important detail that the still photographs do not. Immediately before John John saluted, Jackie leaned down and whispered to him, instructing him to make his move."

Business Insider Article: How Jackie Kennedy Orchestrated The Perfect Funeral

State funeral of John F. Kennedy - Wikipedia


Jackie Kennedy Crafts Mythic Camelot:

“It is astounding to me that a week after JFK’s death, she had the presence of mind to come up with the extraordinary and unexpected reference that has stuck with us for decades,” says the film’s screenwriter, Noah Oppenheim.


People Magazine: Camelot & Terror

"How Jackie Kennedy Invented Camelot Just One Week after JFK’s Assassination"


“She had this sixth sense — of reaching for the stars.”

"First Lady Jackie Kennedy was plunged into shock and despair when her husband, President John F. Kennedy, was assassinated at 46 in 1963. But even in the midst of unimaginable tragedy, she had a key focus: to ensure that his legacy endured. And to do that, she spun a fantasy that has only grown in the five decades since.

On Nov. 29, 1963, four days after her husband’s burial, the widowed mother of two invited Life magazine journalist Theodore H. White to the Kennedy family compound in Hyannis Port, Massachusetts. There, Jackie, then just 34, crafted a glittering fairytale about JFK’s 1,000 days in the White House that continues to captivate the nation. The inspiration? JFK’s favorite Broadway musical, Camelot — the story of mythical world, ruled by King Arthur, where goodness reigned supreme.

“Don’t let it be forgot, that for one brief, shining moment there was Camelot,” Jackie told White, quoting from the musical."

“It is astounding to me that a week after JFK’s death, she had the presence of mind to come up with the extraordinary and unexpected reference that has stuck with us for decades,” says the film’s screenwriter, Noah Oppenheim. But the first lady’s Vassar College classmate Susan Wilson says dreaming big came naturally for Jackie. “She always had a sense of destiny about herself,” says Wilson. “She had this sixth sense — of reaching for the stars.”


How Jackie Kennedy Invented Camelot Myth Just One Week After ...

Camelot (musical) - Wikipedia


The Warren Commission Testimony Of Kerry Wendell Thornley

The Wizard of Oz Meets Disney

"Mr. JENNER. Did Oswald have a nickname? 
Mr. THORNLEY. Not that I know of except Oz sometimes. 
Mr. JENNER. Did you ever hear him referred to as "Ozzie Rabbit"?"

"Mr. THORNLEY. Well, yes; I didn't realize that anybody else referred to him as such but I always thought of him as such. He reminded me very much of a cartoon character at that time. "

"It was kind of pathetic. There was something about this little smile of his, and his expression on his face and the shape of his head, just the general, his general appearance established a definite association in my mind with some Warner Bros. cartoon character, I believe Warner Bros. And I, very recently, in a discussion with someone, describing Oswald mentioned that he reminded you of--I said: "I think there is a character called Oswald Rabbit who appears in movie cartoons." And they shook their head. Now, I know where I got that particular example so I probably heard him referred to as "Ozzie Rabbit," though I don't recall specifically."

source: Testimony Of Kerry Wendell Thornley


Kerry Wendell Thornley

"Kerry Wendell Thornley (April 17, 1938 – November 28, 1998, is known as the co-founder (along with childhood friend Greg Hill) of Discordianism, in which context he is usually known as Omar Khayyam Ravenhurst or simply Lord Omar.[1] He and Hill authored the religion's seminal text Principia Discordia, Or, How I Found Goddess, And What I Did To Her When I Found Her. Thornley was also known for his 1962 manuscript, The Idle Warriors, which was based on the activities of his acquaintance, Lee Harvey Oswald, prior to the 1963 assassination of John F. Kennedy.

Thornley was highly active in the countercultural publishing scene, writing for a number of underground magazines and newspapers, and self-publishing many one-page (or broadsheet) newsletters of his own. One such newsletter called Zenarchy was published in the 1960s under the pen name Ho Chi Zen.[1]"Zenarchy" is described in the introduction of the collected volume as "the social order which springs from meditation", and "A noncombative, nonparticipatory, no-politics approach to anarchy intended to get the serious student thinking."

Raised Mormon, in adulthood Kerry shifted his ideological focus frequently, in rivalry with any serious countercultural figure of the 1960s. Among the subjects he closely scrutinized throughout his life were atheism, anarchism, Objectivism, autarchism (he attended Robert LeFevre's Freedom School), neo-paganism, Kerista,[4] Buddhism, and the memetic inheritor of Discordianism, the Church of the SubGenius."

source: Kerry Wendell Thornley - Wikipedia


PT 109: Fake World War Two News?

Manufacturing Mythic Federal Government Heroes For The Masses

'Without PT 109 you have no President John F. Kennedy,' a  longtime campaign aide claims in new book."

"One incident above all paved John F. Kennedy's path to the White House. 

That incident was the seven-day ordeal of the shipwreck of the patrol-torpedo boat he skippered, the PT 109, and the survival of the crew in the South Pacific in August 1943 during World War II.

But it was only with the marketing strategy of patriarch Joseph P. Kennedy, who hyped the story of PT 109, that his son won a seat in Congress that subsequently led to the Oval Office.

'Without PT 109 you have no President John F. Kennedy', stated Dave Power, longtime campaign aide to JFK.

Joseph P. exploited the PT 109 story and made it an essential piece of campaign biography where John Kennedy becomes a certified action hero, writes Fulbright Scholar and author William Doyle in his compelling new book, PT 109: An American Epic of War, Survival and the Destiny of John F. Kennedy, published by William Morrow."

John F Kennedy's father exploited the PT 109 incident to make his son ...


Kennedy: Ready for His Close-Up

"When Joseph P. Kennedy bought his son Jack a private plane for presidential campaigning, he rationalized the expense with a memory of having once “risked a million dollars . . . on an adventure much less worthwhile.” Three decades before President Kennedy became his principal production, the ill-fated “Queen Kelly” and its silent star, Gloria Swanson, had marked the culmination and comeuppance of Joe Kennedy’s half-dozen years in Hollywood. “Joseph P. Kennedy Presents,” Cari Beauchamp’s smart if bean-counting new book, suggests that nothing in Kennedy’s long career of banking, stock manipulation and New Dealing prepared him for presidential politics the way his time in the picture business did.

Even as a bumptious Boston arriviste — “America’s youngest bank president,” who avoided the draft in World War I by running a shipyard for the government — Kennedy had felt an itch to get in on the money being made by all the new Jewish moguls (he called them “pants pressers”) out in California. In 1919, he formed a production company to move the blackface song-and-dance man Fred Stone from vaudeville into the movies. Kennedy then spent several years running companies that distributed films produced by others until, in 1926, he became “the first outsider to simply purchase a studio outright.” Will Hays, the industry czar, welcomed Kennedy’s acquisition of FBO and the arrival of a new, “exceedingly American” presence in Hollywood.

FBO churned out horse operas and family fare, but Kennedy still managed to bring a bit of Harvard to Hollywood, and vice versa: in 1927, he organized a series of lectures by film-industry leaders, starting with himself, at the university’s business school. The attendant publicity, as Kennedy wanted, was mostly personal. Other studio bosses might fly beneath the radar, but Kennedy continually puffed and polished his own story, cultivating and bullying profile writers until their philandering subject looked like a family man and all the ink in his books ran a deeper shade of black.

For a while Kennedy acquired studios about as often as he fathered children. He took over Pathé not from any passion for its newsreels or its star director — he quickly reined in Cecil B. De Mille’s spending — but to gain access to the theaters of the Keith-Albee-Orpheum Corporation, with which Pathé had become allied. Kennedy thus entered vaudeville in order to finish it off, seizing its Main Street palaces and wiring them for talkies as fast as he could. His cruel treatment of the notoriously cruel impresario Edward Albee (“Didn’t you know, Ed? You’re washed up, you’re through”) helped extend his conquests to the point where the columnist Louella Parsons declared Kennedy “the Napoleon of the movies.” Within days of adding First National to his empire, he fired more than a score of executives and producers. When he turned his green eyeshades toward the actors, Loretta Young got to stay; Mary Astor did not."

Book Review | 'Joseph P. Kennedy Presents: His Hollywood Years,' by ...


Special Effects Film Pioneer Charles Pathé Creates The Newsreel:

The Origin of The Modern Broadcast Newscast, The Real Atomic Age Weapon of Mass Destruction

"Pathé News was a producer of newsreels and documentaries from 1910 until 1970 in the United Kingdom. Its founder, Charles Pathé, was a pioneer of moving pictures in the silent era. The Pathé News archive is known today as British Pathé. Its collection of news film and movies is fully digitised and available online."

"Its roots lie in 1896 Paris, France, when Société Pathé Frères was founded by Charles Pathé and his brothers, who pioneered the development of the moving image. Charles Pathé adopted the national emblem of France, the cockerel, as the trademark for his company. After the company, now called Compagnie Générale des Éstablissements Pathé Frère Pt'honographes & Cinématographes, invented the cinema newsreel with Pathé-Journal. French Pathé began its newsreel in 1908 and opened a newsreel office in Wardour Street, London in 1910.

The newsreels were shown in the cinema and were silent until 1928. At first they ran for about four minutes, and were issued biweekly. Even though during the early days the camera shots were taken from a stationary position, the Pathé newsreels captured events such as Franz Reichelt's fatal parachute jump from the Eiffel Tower, and suffragette Emily Davison's fatal injury by a racehorse at the 1913 Epsom Derby.

During the First World War, the cinema newsreels were called the Pathé Animated Gazettes, and for the first time this provided newspapers with competition. After 1918, British Pathé started producing a series of cinemazines, in which the newsreels were much longer and more comprehensive. By 1930, British Pathé was covering news, entertainment, sport, culture and women’s issues through programmes including the Pathétone Weekly, the Pathé Pictorial, the Gazette and Eve’s Film Review.

In 1927, the company sold British Pathé (both the feature film and the newsreel divisions) to First National. (French Pathé News continued until 1980, and the library is now part of the Gaumont-Pathé collection.) Pathé changed hands again in 1933, when it was acquired by Associated British Picture Corporation. In 1958, it was sold again to Warner Bros. and became Warner-Pathé. Pathé eventually stopped producing the cinema newsreel in February 1970 as they could no longer compete with television. During the newsreels' run, the narrators included Bob Danvers-Walker, Dwight Weist, Dan Donaldson, André Baruch, and Clem McCarthy, among others."

Pathé News - Wikipedia

RCA Radio = RKO Pictures

"RKO Pictures Inc., also known as RKO Radio Pictures and in its later years RKO Teleradio Pictures, was an American film production and distribution company. It was one of the Big Five studios of Hollywood's Golden Age. The business was formed after the Keith-Albee-Orpheum (KAO) vaudeville theatre circuit and Joseph P. Kennedy's Film Booking Offices of America (FBO) studio were brought together under the control of the Radio Corporation of America(RCA) in October 1928.[a] RCA chief David Sarnoff engineered the merger to create a market for the company's sound-on-film technology, RCA Photophone. By the mid-1940s, the studio was under the control of investor Floyd Odlum."

RKO Pictures - Wikipedia



The Chicken Little Boy Who Cried Wolf Press Cannot Be Trusted

"On the morning of November 23, CBS lost the bidding for the footage to Life magazine's $150,000 offer. CBS news correspondent Dan Rather was the first to report on the footage on national television after seeing it, although the inaccuracies in his description would contribute to many conspiracy theories about the assassination. In his 2001 book Tell Me A Story, CBS producer Don Hewitt said that he told Rather to go to Zapruder's home to "sock him in the jaw", take the film, copy it, then return it and let the network's lawyers deal with the consequences.  According to Hewitt, he realized his mistake after ending their telephone conversation and immediately called Rather back to countermand the order. In a 2015 interview on Opie with Jim Norton, Rather stated that the story was a myth."

"On March 6, 1975, on the ABC late-night television show Good Night America (hosted by Geraldo Rivera), assassination researchers Robert Groden and Dick Gregory presented the first-ever network television showing of the Zapruder home movie. The public's response and outrage to that television showing quickly led to the forming of the Hart-Schweiker investigation, contributed to the Church Committee Investigation on Intelligence Activities by the United States, and resulted in the House Select Committee on Assassinations investigation."

Zapruder film - Wikipedia



The Role Of The Fourth Estate: Promote The Propaganda of The Super Powered United States

The role of the fourth estate or the so-called "free press" is to promote mostly terror based traumatic propaganda that reinforces the need for more layers of needless governmental authority. The News media like Hollywood, exists to promote the mythological need for more government. 9/11, Pearl Harbor, and even comic book superhero films, are meant to create patriotic emotions. We the eternal audience are supposed to self identify as our collective mythical, National super hero cartoon-character "good guy" protector. This just so happens to be the Captain America/WonderWoman role the United States military plays on a global scale.

The problem-reaction-solution-evoution-revolution, never ends.

Ours is a post post post modern world of absurd socially imposed contradictions. Former Olympian men morph into old women overnight and the press continues to sing praises by way of News fed parrot song. There are plenty of pleasant and not so pleasant bread and circus style diversions "we the people" can use to delude ourselves that we wage slaves are as truly as free as Nationally advertised. All sorts of insane games of cosplay and official Royal sanctioned dress up mark ours as a world of overgrown children much too in love with Halloween. Priests, kings, queens, judges and nuns are no longer the only ones in on all the make believe dress up fun. In today's social media infected world of digital gratification, you can be whatever idea you think you want to be. There are hormone therapies and needless surgeries and all sorts of body mods one can delight in experiencing. What a time to be alive!

Estates of the realm - Wikipedia


We Cannot Trust The Fourth Estate:

Did Dan Rather See A Different Version of The Zapruder Cartoon?

"Why Did Dan Rather Lie About JFK's Assassination?"

"Dan Rather, a fixture as head anchor on the CBS Evening News for many years, was not invited to participate in CBS News' 50th anniversary of the John F. Kennedy assassination broadcast on Nov. 22.

CBS has was right to keep their distance from Rather, the affective media figure responsible for the most counterfactual news report in the hours after the Kennedy assassination. Rather, at the time a green newscaster who worked at a Texas television station, earned his stripes with the Kennedy assassination but did so at the price of the truth.

Rather was the only reporter to view the Zapruder film the day after the assassination. In this situation, he was an all-important set of eyes from the fourth estate, a voice the public could trust. He issued an erroneous, purposely falsified statement concerning the film. Following the final shot, the head of Kennedy in Rather's angled report "went forward with considerable violence," a description that anyone with eyesight in the fifty years following the assassination would find to be a blatant lie.

As seen clearly on the Zapruder film, which was not shown to the public until 1975, the final shot jarred Kennedy's head back and to the left. Rather, and Rather alone, is responsible for the intentional misinterpretation of the Zapruder film.

In 1993, CBS anchorman Dan Rather confessed to Robert Tannenbaum, the former deputy chief counsel of the House Select Committee on Assassinations: "We really blew it on the Kennedy assassination." ."

Why Did Dan Rather Lie About JFK's Assassination? - The Stone Zone



"Oswald was shot two days later, it could be argued, because of the media’s need to fill a yawning news void."



"That weekend initiated the phenomenon of saturation TV coverage."



Ever hear the one about an MK Ultra Mind Controlled Elvis Killing Kennedy?

“Be thankful you weren’t alive in the 60s.” 

"That’s the best I can do in the way of consoling words for young people who in the last two weeks have listened to their parents and grandparents reliving John F. Kennedy’s assassination for the umpteenth time.

If the torrent of 50th anniversary articles, symposia,blog posts, TV documentaries and docudramas, historical reenactments, new books, and reissues has left you aghast at the bottomless self-involvement of your elders, please keep in mind that the deluge this month is nothing compared to the steady rain that fell on us almost every month between 1963 and 1967.

Remembering JFK became an industry in those years. The double murder of a U.S. president and his suspected assassin—within 48 hours of each other--multiplied expon-entially the number of angles that journalists, historians, self-appointed gumshoes, and total crackpots could pursue. The light that bounced off those shattering events, somehow mirroring each other, has many of us still trying to see straight and fit the pieces together in a logical pattern.

Would Kennedy be so revered today had he not been shot and killed in Dallas? The question isn’t improper. The 100th anniversary of his birth in 2017 is unlikely to provoke this scale of outpourings. Of the estimated 40,000 volumes devoted to his life and presidency, more than 2,600 are concerned solely with the circumstances of his last day on earth.

Fueled by myth, the enduring fascination with JFK has depended, as many myths have, on our less-than-noble taste for sexual intrigue and gruesome death. Don’t let it be forgot that Camelot, despite what Jackie wanted us to think, was a story about infidelity by beautiful people who brought down a government. It does not end happily."

"Four major players—organizations and individuals--tended the flame of JFK’s memory in the years following his death. Their motives were the usual mix of the honorable, the base, and the subconscious. But whether acting out of grief or curiosity--the mystery of Kennedy’s death was the journalistic story of the mid-60s and turned dozens of ordinary citizens into investigative reporters--it wasn’t hard for all sorts of people to make money off the public’s fascination with an assassinated president."

"First on my list of those with a stake in JFK, Inc. would be the picture magazines, Life and Look."

"In our media-liberated age, it is hard to grasp the almost monopolistic hold the large-format weeklies enjoyed over any news that could be photographed. Circulation numbers don’t reflect their impact or ubiquity. (Life peaked in 1969 at 8.5 million subscribers; Look was not far behind, with 7.75 million that year. This was a time when the U.S. population was just reaching 200 million.)

Before TV took over the role--and JFK’s assassination marks a key phase of the transition—Life and Look andThe Saturday Evening Post were charged with illustrating and interpreting national and world events for the white middle class. Between 1963 and 1967, Life devoted 10 covers to JFK. (During these years only the cover of Time was a more valuable piece of journalistic real estate.) Three covers alone appeared before the end of 1963: "Murder of the President” (Nov. 29); "Kennedy's Last Journey” (Dec. 6); and an undated "John F. Kennedy Memorial Edition." These issues were extremely popular, cherished even. Copies can still be found in attics all over America.

In the months that followed, the editors turned their focus to JFK’s accused killer. "Lee Harvey Oswald" (Feb. 21) and "Oswald's Full Russian Diary: He and Marina in Minsk" (July 10) were both covers, and when the Warren Commission released its report, Life asked committee member (and future U.S. president) Gerald Ford for his first-hand assessment of the findings (Oct. 2)."

"The second group that would not leave JFK’s body alone after his death, and benefited from the conspiracies swirling around his and Oswald’s killing, were the news divisions of the TV networks, especially those of CBS and NBC."

"Among the striking aspects of broadcasts from that November weekend is how little TV had to work with. News of the shots fired in Dealey Plaza was first reported on radio. TV had to scramble to put anything on the air and often it was nothing but an anchorman in a New York studio. 

Walter Cronkite’s announcement of the president’s death is iconic because of the suppressed emotion evident in his voice and the removal of his glasses. It marks Cronkite’s aggrandizement into fatherly comforter-in-chief. 

But the paucity of other visual reports from that day has also magnified the moment’s significance. Oswald was shot two days later, it could be argued, because of the media’s need to fill a yawning news void. Since Friday there had been almost nothing to show a curious public about either the assassination (indeed, the Zapruder film was not broadcast until 1975) or the suspected killer.

The networks pressured the Dallas police to let them film a jail transfer that should have happened in secret, out of camera range. The police eagerly agreed to this absurd proposal so that Oswald’s good health would be apparent. (His black eye had ignited rumors he was being brutalized in custody.) As a result, NBC and Tom Pettit broadcast Ruby’s shooting of Oswald live, in real time—the first time Americans had seen someone executed in front of their eyes. CBS lagged a few seconds behind because Roger Mudd had gone on too long in a stand-up from Washington, D.C. But they made up for the blown opportunity with videotaped repeats. That weekend initiated the phenomenon of saturation TV coverage.

Things only got worse. Some 23 TV network specials about the assassination--retrospective and/or investigatory—appeared between 1963-1968. Even when the topics seemed focused on legitimate areas of inquiry, such as Cuba’s, the Mafia’s, or the CIA’s possible connection to Oswald, it was hard to miss their self-congratulatory air. 

As Barbie Zelizer pointed out in her 1992 book, Covering the Body: The Kennedy Assassination, the Media, and the Shaping of Modern Memory, most of these performances of “journalistic recollection were identified by an individual reporter’s name.” Dan Rather hosted more than one of these. “By coming back to film clips of Rather, the documentary supported his central presence as its narrator and under-scored his part in the network’s original coverage of Dallas.” "

"Within three years of Kennedy’s death, some 200 books about him were published. Most of the early ones were first-person reminiscences or historical encomiums. But after 1966--and increasingly thereafter, until the end of the century--the tone darkened. Lane’s view that a cover-up had obscured the truth about JFK’s death soon became conventional wisdom. (British historian Hugh Trevor-Roper, who went on to make a fool of himself by vouching for the fake Hitler Diaries, wrote the introduction and gave Lane further credibility.)"

"The third group that enhanced JFK’s posthumous aura, however inadvertently, was the Warren Commission. Authorized by President Johnson a week after the Dallas killings to gather evidence, record memories of eyewitnesses, and perhaps to quiet fears of a conspiracy, the 7-member panel, headed by the chief justice of the U.S. Supreme Court, Earl Warren, released its 889-page report less than 10 months later."

"It was widely hailed at the time as definitive. Questions about more than one shooter were dismissed. The findings were “unanimous on … all questions,” The New York Times inaccurately reported. (Three of the seven members doubted the so-called single-bullet theory.)

Then, in 1966, Mark Lane published his seminal book Rush to Judgment, with the pointed subtitle: A Critique of the Warren Commission's Inquiry into the Murders of President John F. Kennedy, Officer J.D. Tippit and Lee Harvey Oswald. Lane did not believe that the same bullet that went through Kennedy could have wounded Connolly. His book, along with Josiah Thompson’s Six Seconds in Dallas and Edward Jay Epstein’s Inquest: The Warren Commission & the Establishment of Truth, became 1966 bestsellers. 

The failure of the FBI to interview many eyewitnesses, some of whom disputed the report’s findings, quickly became a source of controversy. Some of these people aired their misgivings in a 1967 documentary film directed by Emile de Antonio and based on Lane’s book. Filmmaker and author became heroes on the counter-culture circuit in the late ‘60s as they toured their work on campuses around the nation. 

The Warren Report faulted the Secret Service, which took the criticism to heart and revamped its practices. But the news media was also blamed for what happened in Dallas, especially for its role in Oswald’s death, and that may have helped to turn the media against the findings."

"The fourth, and most important player in making sure we would keep talking about Jack Kennedy was Jacqueline Kennedy. Worries that he had suffered an ignoble death, at the hands of a nobody, and in an alien city that had openly hated him since 1960, terrified her."

He didn’t even have the satisfaction of being killed for Civil Rights,” she reportedly told her mother. “It had to be some silly little Communist. It robs his death of any meaning.”

To prevent that from happening, she behaved with steely dignity, first in the hours after he had died bloodily in her arms, and then during the weekend as she stage-managed the spectacle of his funeral back in Washington, D.C.

Understated symbolism was her style: the caisson drawn through the streets by a riderless horse, accompanied only by the low rumble of drums; and a closed casket for the victim of a head wound was her demand. Her whispered suggestion that her 3-year-old son salute the passing casket of his father resulted in the most wrenching photo (by UPI’s Stan Stearns, later reproduced in Life) of a wrenching weekend. 

She requested an eternal flame be placed at JFK’s grave at Arlington National Cemetery—he would be the only president to be so memorialized--and she played a pivotal role in the site’s orientation on an axis with the Washington Monument, the Lincoln Memorial and the U.S. Capitol.

Guardian of access to all kinds of information about the Kennedy presidency, she enjoyed journalists if they played by her rules. Camelot was her invention. Theodore White was happy to promote the myth in Life, bathing the years when the couple occupied the White House in a celestial light.

She also stayed in close touch with Schlesinger as he was writing A Thousand Days, and with Manchester, until they had a falling out, reportedly over his attempts to write more candidly than was the norm about her husband’s reckless private life.

No other 20th century U.S. president, except FDR, had a widow as prominent as Jackie. Her fame in the 60s and 70s rivaled that of any celebrity in the world. Photos of her anywhere were the ultimate paparazzi prize. Until eclipsed by Princess Diana, she moved magazine copies like few other women of her time."



The Yellow Blueprint Revealed

The JFK Assassination: A Terrorist Event

Below the basic Blueprint for Yellow Journalism and this is the basic Blueprint for all Culture as we know it, all Royal, Governmental and Military pomp and circumstance have the same origin in the same childish thinking as comic strip characters like Superman and the Peanuts. This is the basic template for Religions and fairy tales and myths and all sorts of fictional narratives.

The JFK event with all its mainstream media promoted mythical mysteries is quite the crowd pleaser and a huge money maker.

The mythic martyred young charismatic President who wanted to send us all to the Moon, legendarily made all the ladies and Hollywood starlets swoon...

As the Zapruder photo-cartoon shows, the ladies were lined up to see this young political star.

Mainstream media conspiracy nonsense about Kennedy include the idea that he was a victim of some kind of governmental conspiracy. JFK becomes a sainted demigod. This mythical sacrificial victim would have saved the World from evil international banking interests had the Secret Service, LBJ and the CIA not conspired with grey aliens and reptile NAZI/Jewish overlords to take care of the Presidential problem. JFK died for us, "we the people". JFK becomes a modern governmental Jesus.

JFK represents the eternal "underdog against the system".

JFK is a comic strip/yellow journal hero for the post modern age of disposable income, disposable identity and disposable existence.


Fake News is old News

What most do not realize is that all News media is more Yellow Journalistic than not.

This blueprint shows us how it all works. We now know why the headlines and the news is constructed and presented in the manner it is and why there are so many cartoonish and other sorts of comic book inspired work in the mainstream News, Hollywood Multimedia and in the University system. The mainstream and even the alternative News media is a tabloid driven noise machine that screens reality. Truth is liberally mixed with heavy doses of fiction and the less local and more reported the story, the more likely it is part of the myth making, propaganda noise machine. Fake News is not new.


Yellow Journalism: The Old Name For Fake News

Joseph Campbell defines yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation

Frank Luther Mott defines yellow journalism in terms of five characteristics:

  1. scare headlines in huge print, often of minor news
  2. lavish use of pictures, or imaginary drawings
  3. use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
  4. emphasis on full-color Sunday supplements, usually with comic strips
  5. dramatic sympathy with the "underdog" against the system.”


Yellow journalism - Wikipedia, the free encyclopedia


For More Please SeeThe Zapruder Film is a live action cartoon.

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Recommended Reading:

"A preview of a possible future in Tokyo"

Modern Times, Modern Places by Peter Conrad

"The world changed faster during the twentieth century than ever before. Science and technology set the pace, promoting men to the air like gods. There were revolutions on the streets, but also in the head: uprisings of the Marxist proletariat and of the Freudian id. The new physics of Einstein and his colleagues changed our understanding of nature by showing that matter is made up of empty space, and modern architects constructed buildings to match those new structural principles. Painters such as Picasso and Dali denied they were distorting the human form: they were simply acknowledging the ways in which modern men and women were different, both physiologically and psychologically."

"Little wonder that, even before our unprecedented century has concluded, its culture has been studied, dissected, analyzed, questioned, rejected, and embraced. We are exhilarated by our own story. Yet the twentieth century's proud rejection of the Western humanist past and its newly specialized intellectual style has left our understanding of it in fragments. But rescue is at hand, for in Modern Times, Modern Places, the noted critic Peter Conrad--ranging brilliantly between literature, the visual arts, music and the performing arts, science, and psychoanalysis--connects these disparate areas and sees the modern era as a whole."

"Taking his cue from the declaration of the Italian futurists that time and space had been abruptly killed off by Einstein's time-space continuum, he investigates the notion and the nature of modern times: the justified conviction that we have lived through a unique testing period in the experience of mankind. He also describes the places that were frontiers ofmodernity--cities like Vienna, Moscow, Paris, and Berlin; new worlds in the Americas; a preview of a possible future in Tokyo."

"Did it all happen too fast and go too far? Modernity was like a roller coaster ride, during which the human race jested with disaster and delighted in the havoc created by the play of g-forces. Yet we can take pride in our century's mental achievements, as well as regretting its crimes. Despite the dangers we confront, with the uniquely clear perspective Peter Conrad provides on a phase of history that has nearly passed we are much better prepared to confront the new millennium."

Modern Times, Modern Places



"Conrad concludes that "Modernity had a single, simple project, carried through in all fields of mental endeavour. Declining to give God credit for creation, it took the world to pieces. The nuclear bomb was its equivocal triumph."

"The comic spirit reminds us of our flimsiness and also of our freedom. It points out that truth is relative, which is why we need fiction."

The Washington Post Review 1999 by Michael Dirda

"Aptly described on its jacket as a monumental study of "how life and art were transformed in a century of revolution, innovation and radical change," Modern Times, Modern Places is one of those deeply learned, shamelessly ambitious attempts to capture between two covers the richness and essence of Something Very Big, be it a period of history, the nature of man, or the character of a long-vanished civilization. Such volumes, especially when written by a single scholar, are now frequently said to be outmoded or old-fashioned, yet some of the most exhilarating books of the recent past fall into this category: Hugh Kenner's The Pound Era, Ivan Morris's The World of the Shining Prince, John Hale's The Civilization of Europe in the Renaissance, Camille Paglia's Sexual Personae. Such synoptic masterworks usually allow us to step back from the trees, so various in their kinds and distracting in their individual beauty, and actually see the forest.

More personally, Peter Conrad -- already the author of an impressive one-man history of English literature, as well as a dozen other books, including a study of opera -- here aims "to understand what it has meant to be alive in the 20th century." In particular, he zeroes in on "the competition between humanity and inhuman mechanism, or between human values and subhuman behaviour; the choice between the ideal future envisaged by social planners and the atavistic compulsion of our savage past." To explore this ongoing tension, he looks to art for his evidence, "since artists are the interpreters of their age as well as its memorialists." Painting, film, literature, music, architecture, drama, photography, fashion -- Conrad appears to have read, listened to, and looked at everything, and then thought hard about the links between imaginative accomplishment and society.

This, after all, is a book that reflects on matters as various as Louise Brooks's bobbed hair, Schoenberg's serial composition, the novels of Joyce, Proust, Bely, Doblin, Mann and Pynchon, the tv series "Dallas," Picasso's harlequins, the Eiffel Tower as a symbol, Freud's patients, phone sex, the science fiction of H.G. Wells, Marlene Dietrich, negritude, and the suicide of Yukio Mishima -- as well as Marcel Duchamps' "Large Glass," Andy Warhol and Charlie Chaplin, spaghetti westerns, gay identity, sound bites, Tatlin's unbuilt Monument to the Third International, typewriters, Josephine Baker, and "Mack the Knife." If you've ever wanted to take a year-long college survey of 20th-century culture, presented by a brilliant and charismatic lecturer, you can save yourself a bundle by picking up a copy of Modern Times, Modern Places.

Conrad organizes his book in chapters that ramble artfully around a subject -- say the notion of robots or the idea of heaven on earth or theories of time and space -- while drawing his examples and anecdotes from the usual, as well as many unusual, suspects. Moreover, he does all this in a snappy prose, succinct, provocative and jargon-free. His second chapter, for example, opens with a typical flourish -- "The end of the world began, by common consent, in Vienna" -- and then proceeds to an analysis of Karl Kraus's "cosmic vaudeville," The Last Days of Mankind. From there Conrad modulates into observations on Richard Strauss's operas, the paintings of Gustav Klimt, Robert Musil's Man Without Qualities and the several film versions of Franz Lehar's "The Merry Widow." With a juggler's sprezzatura, he also tosses out hypotheses, insights, definitions: "Symbolism was the idiom of internal withdrawal; its riddling complication protected the unpolitical life from scrutiny." Is this true? I'm not sure, but how can you resist a writer who actually thinks? Which is not to say that this is a tome of forbidding intellectuality. Conrad likes facts even more than speculations: In 1921, he tells us while discussing Kraus, you could take a tourist excursion, with reduced rates in autumn, to Verdun, one of the bloodiest bloodbaths of the Great War. "A jaunt to the ossuary" was regularly thrown in. As a special treat, I suppose.

A diligent reader will find Modern Times, Modern Places a dragon's hoard of such odd, illuminating and unexpected information. The philosopher Theodor Adorno was critic Walter Benjamin's cousin. Bartok learned Arabic to facilitate his researches into folk music. Orson Welles started to work on a film of "Heart of Darkness"; when the studio cancelled the project, he made "Citizen Kane" instead. "Freud claimed that the century's ailment was hypermnesis: we remember too much." In fact, this book's main fault, if it is one, lies in the factual plumminess of every page: As when reading P.G. Wodehouse stories, you should ration Conrad's chapters, spending some time on each one, rather than try to rush through the text. Still, such a thrilling ride makes slowing down hard to do.

For Conrad offers more than a mere survey of cultural high spots. Above all, he contrives to set individual events or works of art into a pattern or grid, a network of significance. For instance, in one chapter he traces the iconic implications of "Spring, Sacred and Profane," from Stravinsky's Sacre du Printemps (with its finale of death) through Aztec human sacrifice, which fascinated D.H. Lawrence, onto Walt Disney's "Fantasia," with plenty of stops along the way, at, for instance, Schoenberg's "Moses und Aron," Hofmannsthal and Strauss's "Elektra," Durkheim on the sociology of religion, and the emblematic life of Diana, Princess of Wales. "An age without gods," our guide reminds us, "cannot help being idolatrous."

In the very last paragraph of his book, Conrad concludes that "Modernity had a single, simple project, carried through in all fields of mental endeavour. Declining to give God credit for creation, it took the world to pieces. The nuclear bomb was its equivocal triumph." That sounds almost too pat, but the evidence lies before us in over 700 pages of text and illustrations. Still, given this past, Conrad wonders, how should we now live? Following Milan Kundera, he quietly advocates a sense of humor and grace, a taste for laughter, even frivolity. "The comic spirit reminds us of our flimsiness and also of our freedom. It points out that truth is relative, which is why we need fiction." Even if the world doesn't reciprocate our laughter, says Conrad, such is "the twentieth century's hard-won, smilingly stoical wisdom," what he calls, adapting Nietzsche, "a gay science for the end (or at least the late middle age) of time."

In Modern Times, Modern Places Peter Conrad reviews the cultural obsessions, horrors and triumphs of the past hundred years. Unlike some other globally minded historians (e.g., Spengler), he is humane and flexible, as well as encyclopedic; at heart he remains, in the words of Russell Hoban's Riddley Walker, a "connection man," seeking patterns of meaning rather than hammering away at some recalcitrant thesis. But make no mistake: Modern Times, Modern Places is a book worthy of the era it seeks to understand. And, considering the 20th century's sheer tumultuousness, that's saying something."

Michael Dirda - The Washington Post


Tokyo: A Virtual Reality

"His second principal theme—the loss of individual identity within the urban crowd, totalitarian political movements, and consumerist mass culture seems more cliched. Indeed, there isn't much new material here, as Conrad rounds up the usual artistic suspects (surrealism, dadaism, cubism, serialism, atonalism: name your favorite, and you'll find it) and takes readers to such oft-visited sites as turn-of-the-century Vienna, Moscow in the rosy 1920s heyday of Soviet idealism, and 1990s Tokyo, paragon of the ersatz, virtual-reality world we now inhabit."



"A sweeping, ambitious examination of sea changes in human perception and interpretation over the past 100 years, from Oxford professor Conrad (A Song of Love and Death: The Meaning of Opera, 1987, etc.). The author admits that his account heavily favors the first half of the 20th century. Although the thematically organized chapters march in roughly chronological order, in many, Conrad devotes dozens of pages to an artistic trend as played out in pre- WWII decades, then tacks on a few paragraphs zipping us through its manifestations in the postwar years. His essential subject is the assault of high modernism on the received wisdoms of the past. As he depicts our century’s most daring painters, writers, composers, architects, and directors (abetted by their peers in science and apocalyptic politics) challenging conventional notions about the representation and even the essential nature of physical, social, and psychological reality, two central points emerge. Abstraction, Conrad suggests in his most interesting passages, is not just an artistic strategy, but a response to the increasingly abstract nature of modern life, experienced at an accelerating pace and accessorized with ever more complex technologies as disorienting as they are indispensable. His second principal theme—the loss of individual identity within the urban crowd, totalitarian political movements, and consumerist mass culture seems more cliched. Indeed, there isn't much new material here, as Conrad rounds up the usual artistic suspects (surrealism, dadaism, cubism, serialism, atonalism: name your favorite, and you—ll find it) and takes readers to such oft-visited sites as turn-of-the-century Vienna, Moscow in the rosy 1920s heyday of Soviet idealism, and 1990s Tokyo, paragon of the ersatz, virtual-reality world we now inhabit. Nonetheless, he capably integrates massive amounts of information into a smoothly entertaining chronicle. Scholars may regret the lack of original insights, but this accomplished and very thorough round-up of our century’s most important cultural trends is perfect for the serious general reader."





Nature may abhor the imagined vacuum but human minds do not.



"Conrad concludes that "Modernity had a single, simple project, carried through in all fields of mental endeavor."

"Declining to give God credit for creation, it took the world to pieces."

"The nuclear bomb was its equivocal triumph."

"The comic spirit reminds us of our flimsiness and also of our freedom. It points out that truth is relative, which is why we need fiction."

The Washington Post Review 1999 by Michael Dirda


The Apocalypse of Ronald Reagan's Super Secret Star Wars Weapon & The American Imagination

Back To The Future Tokyo: The Secret of War Revealed As Hollywood Magic

"Back in Hollywood, First Lieutenant Ronald Reagan was taking part in what he refers to in his autobiography as one of the major "secrets of war, ranking up with the atom bomb project": creating a complete miniature of Tokyo, so authentic in detail that even top Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.” As areas of Tokyo were burned out, Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”

War Stars: The Superweapon and the American Imagination


Future Presidential Voice Over & Hollywood Magic Fool Even Air Corps Generals

 "Air Corps generals could not distinguish it from reality. Footage of fake bomb runs on the toy city were then used to brief bombing crews, who were taken by Reagnan’s voice over narrative all the way to his dramatic “Bombs away.”


Burned Out From Exposure To The Online "Conspiracy" Scene?

Seeing The Target Scene By Way of The Medium of The Screen: Your Mind Is Part of The Targeted Social Scene

"Reagan tells how the Hollywood team would “burn out” their counterparts in “our target scene,” obliterating along with the city, the boundaries between illusion and reality.”

scene - Online Etymology Dictionary

source: War Stars: The Superweapon and the American Imagination