Social critic Neil Postman contrasted the futures predicted in Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book “Amusing Ourselves to Death”.
He wrote:
“What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egotism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.”
Neil Postman’s book, “Amusing Ourselves To Death; or Public Discourse in an Age of Show Business” (1985), had its origins at the Frankfurt Book Fair, where Postman was invited to join a panel discussing George Orwell’s “Nineteen Eighty-Four”. Postman said that our present situation was better predicted by Huxley’s “Brave New World”. Today, he maintained it is not fear that bars us from truth. Instead, truth is drowned in distractions and the pursuit of pleasure, by the public’s addiction to amusement.
Postman sees television as the modern equivalent of Huxley’s pleasure-inducing drug, soma, and he maintains that that television, as a medium, is intrinsically superficial and unable to discuss serious issues. Looking at television as it is today, one must agree with him.
The wealth and power of the establishment
The media are a battleground where reformers struggle for attention, but are defeated with great regularity by the wealth and power of the establishment. This is a tragedy because today there is an urgent need to make public opinion aware of the serious problems facing civilization, and the steps that are needed to solve these problems. The mass media could potentially be a great force for public education, but in general their role is not only unhelpful – it is often negative. War and conflict are blatantly advertised by television and newspapers.
Newspapers and war
There is a true story about the powerful newspaper owner William Randolph Hearst that illustrates the relationship between the mass media and the institution of war: When an explosion sank the American warship USS Maine in the harbor of Havana, Hearst anticipated (and desired) that the incident would lead to war between the United States and Spain. He therefore sent his best illustrator, Fredrick Remington, to Havana to produce drawings of the scene. After a few days in Havana, Remington cabled to Hearst, “All’s quiet here. There will be no war.” Hearst cabled back, “You supply the pictures. I’ll supply the war.” Hearst was true to his words. His newspapers inflamed American public opinion to such an extent that the Spanish-American War became inevitable. During the course of the war, Hearst sold many newspapers, and Remington many drawings. From this story one might almost conclude that newspapers thrive on war, while war thrives on newspapers.
Before the advent of widely-read newspapers, European wars tended to be fought by mercenary soldiers, recruited from the lowest ranks of society, and motivated by financial considerations. The emotions of the population were not aroused by such limited and decorous wars. However, the French Revolution and the power of newspapers changed this situation, and war became a total phenomenon that involved emotions. The media were able to mobilize on a huge scale the communal defense mechanism that Konrad Lorenz called “militant enthusiasm” – self-sacrifice for the defense of the tribe. It did not escape the notice of politicians that control of the media is the key to political power in the modern world. For example, Hitler was extremely conscious of the force of propaganda, and it became one of his favorite instruments for exerting power.
With the advent of radio and television, the influence of the mass media became still greater. Today, state-controlled or money-controlled newspapers, radio and television are widely used by the power elite to manipulate public opinion. This is true in most countries of the world, even in those that pride themselves on allowing freedom of speech. For example, during the US-led invasion of Iraq in 2003, the official version of events was broadcast by CNN, and criticism of the invasion was almost absent from their transmissions.
The mass media and our present crisis
Today we are faced with the task of creating a new global ethic in which loyalty to family, religion and nation will be supplemented by a higher loyalty to humanity as a whole. In case of conflicts, loyalty to humanity as a whole must take precedence. In addition, our present culture of violence must be replaced by a culture of peace. To achieve these essential goals, we urgently need the cooperation of the mass media.
The predicament of humanity today has been called “a race between education and catastrophe”: Human emotions have not changed much during the last 40,000 years. Human nature still contains an element of tribalism to which nationalistic politicians successfully appeal. The completely sovereign nation-state is still the basis of our global political system. The danger in this situation is due to the fact that modern science has given the human race incredibly destructive weapons. Because of these weapons, the tribal tendencies in human nature and the politically fragmented structure of our world have both become dangerous anachronisms.
After the tragedies of Hiroshima and Nagasaki, Albert Einstein said, “The unleashed power of the atom has changed everything except our way of thinking, and thus we drift towards unparalleled catastrophes.” We have to learn to think in a new way. Will we learn this in time to prevent disaster? When we consider the almost miraculous power of our modern electronic media, we can be optimistic. Cannot our marvelous global communication network be used to change anachronistic ways of thought and anachronistic social and political institutions in time, so that the system will not self-destruct as science and technology revolutionize our world? If they were properly used, our instantaneous global communications could give us hope.
The success of our species is built on cultural evolution, the central element of which is cooperation. Thus human nature has two sides, tribal emotions are present, but they are balanced by the human genius for cooperation. The case of Scandinavia – once war-torn, now cooperative – shows that education is able to bring out either the kind and cooperative side of human nature, or the xenophobic and violent side. Which of these shall it be? It is up to our educational systems to decide, and the mass media are an extremely important part of education. Hence the great responsibility that is now in the hands of the media.
How do the mass media fulfill this life-or-death responsibility? Do they give us insight? No, they give us pop music. Do they give us an understanding of the sweep of evolution and history? No, they give us sport. Do they give us an understanding of need for strengthening the United Nations, and the ways that it could be strengthened? No, they give us sitcoms and soap operas. Do they give us unbiased news? No, they give us news that has been edited to conform with the interests of the military-industrial complex and other powerful lobbies. Do they present us with the need for a just system of international law that acts on individuals? On the whole, the subject is neglected. Do they tell of of the essentially genocidal nature of nuclear weapons, and the urgent need for their complete abolition? No, they give us programs about gardening and making food.
A consumer who subscribes to the “package” of broadcasts sold by a cable company can often search through all 100 or so channels without finding a single program that offers insight into the various problems that are facing the world today. What the viewer finds instead is a mixture of pro-establishment propaganda and entertainment. Meanwhile the neglected global problems are becoming progressively more severe. In general, the mass media behave as though their role is to prevent the peoples of the world from joining hands and working to change the world and to save it from thermonuclear and environmental catastrophes. The television viewer sits slumped in a chair, passive, isolated, disempowered and stupefied. The future of the world hangs in the balance, the fate of children and grandchildren hang in the balance, but the television viewer feels no impulse to work actively to change the world or to save it. The Roman emperors gave their people bread and circuses to numb them into political inactivity. The modern mass media seem to be playing a similar role.
Our duty to future generations
The future of human civilization is endangered both by the threat of thermonuclear war and by the threat of catastrophic climate change. It is not only humans that are threatened, but also the other organisms with which we share the gift of life. We must also consider the threat of a global famine of extremely large proportions, when the end of the fossil fuel era, combined with the effects of climate change, reduce our ability to support a growing global population.
We live at a critical moment of history. Our duty to future generations is clear: We must achieve a steady-state economic system. We must restore democracy in our own countries when it has been replaced by oligarchy. We must decrease economic inequality both between nations and within nations. We must break the power of corporate greed. We must leave fossil fuels in the ground. We must stabilize and ultimately reduce the global population. We must eliminate the institution of war; and we must develop new ethics to match our advanced technology, ethics in which narrow selfishness, short-sightedness and nationalism will be replaced by loyalty to humanity as a whole, combined with respect for nature.
Inaction is not an option. We have to act with courage and dedication, even if the odds are against success, because the stakes are so high.
The mass media could mobilize us to action, but they have failed in their duty.
Our educational systems could also wake us up and make us act, but they too has failed us. The battle to save the earth from human greed and folly has to be fought in the alternative media.
The alternative media, and all who work with them deserve both our gratitude and our financial support. They alone, can correct the distorted and incomplete picture of the world that we obtain from the mass media. They alone can show us the path to a future in which our children, grandchildren, and all future generations can survive.
A book discussing the importance of alternative media can be freely downloaded and circulated from this address:
In his last “evil” act as head of the Justice Department under President Donald Trump, Jeff Sessions reminded “everyone yet again why he’s been the worst attorney general in modern history” and drastically limited the ability of federal officials to use court-enforced deals to require reforms at police departments that are found systematically violating people’s civil rights.
Sessions, on his way out the door, reminds everyone yet again why he’s been the worst attorney general in modern history. https://t.co/W9MQpRhTxG
Shortly before Trump forced Sessions to resign on Wednesday—and appointed a temporary replacement who is hostile toward Special Counsel Robert Mueller’s investigation—Sessions signed a memorandum (pdf), as the New York Times reports, “sharply curtailing the use of so-called consent decrees, court-approved deals between the Justice Department and local governments that create a road map of changes for law enforcement and other institutions,” by imposing “three stringent requirements for the agreements.”
The decrees were, as the Times noted, “used aggressively by Obama-era Justice Department officials to fight police abuses,” but soon after Sessions took office, he had signaled he would scale back their use and “ordered a review of the existing agreements, including with police departments in Baltimore, Chicago, and Ferguson, Mo., enacted amid a national outcry over the deaths of black men at the hands of officers.”
Sessions’ last-minute final act was met with widespread outrage, but not surprise—rather, as many critics quickly pointed out, it fit with the patterns of Sessions’ moves throughout his tenure as attorney general.
“From day one, former Attorney General Jeff Sessions expressed open and naked hostility to the use of consent decrees, especially in the civil rights context,” said Kristen Clarke of the Lawyers’ Committee for Civil Rights Under Law. “This action by Sessions, on his way out the door, seals his legacy as an obstructionist when it comes to advancing justice and protecting rights in our country.”
It’s like Sessions thought, “What’s one more, big thing I can do to make sure governments across the country can get away with racist violence?” And then quietly snuck it into federal law just as the movers showed up. Good riddance. https://t.co/f8YeOE8ZTn
I would never expect Sessions to be anything other than an unrepentant civil rights foe until the very last minute,” tweeted Sherrilyn Ifill, president and director-counsel of the NAACP Legal Defense Fund.
On his way out the door, Sessions issued guidelines to limit scope, duration & effectiveness of consent decrees which are used in all types of civil rights cases, including those addressing police abuse & misconduct. Sessions was true to form until bitter end. https://t.co/oIvWR5WDT2
“He was a racist when appointed, a racist while serving, and a racist to the very end,” Josh Moon of the Alabama Reporter said of his state’s former senator. “There is no redeeming quality to Jeff Sessions. He’s a horrible racist at his core.”
The New Republic‘s Matt Ford concluded simply, “He is who we thought he was.”
Although Sessions, much to Trump’s frustration, recused himself from the Mueller probe, while serving as attorney general, he made several moves—including canceling Deferred Action for Childhood Arrivals (DACA) and implementing the “zero-tolerance” policy that tore migrant children away from their parents—that had civil and human rights advocates constantly raising alarm about “the Trump/Sessions white supremacist agenda.”
Even before news broke about his memo to curb the use of consent decrees, social justice advocates began to document Sessions’ record as he departed.
“Jeff Sessions was the worst attorney general in modern American history. Period,” the ACLU charged in a series of tweets on Wednesday that, among other things, noted his discrimination against trans people, enthusiastic enforcement of racist drug laws, and use of religion to attack women’s reproductive rights.
Sessions allowed the DOJ to function as the political arm of the Trump administration to undo fundamental rights, disregarding years of legal precedent.
The Senate must demand that any nominee for attorney general commit to not interfere in the special counsel investigation.
One of the most prominent parts of Sessions’ legacy is the immigration crisis he leaves behind, as Julia Preston outlined for The Marshall Project on Wednesday. Acknowledging Preston’s report, the Lawyers’ Committee for Civil Rights Under Law summarized on Twitter, “On President Trump’s favorite issue, the departing attorney general leaves behind record-breaking backlogs of cases, onerous constraints on judges, and a bulwark of punitive attitudes toward families seeking asylum.”
On President Trump's favorite issue, the departing attorney general leaves behind record-breaking backlogs of cases, onerous constraints on judges, and a bulwark of punitive attitudes toward families seeking asylum. https://t.co/SkncryfyBM
— Lawyers' Committee ☎️866-OUR-VOTE (@LawyersComm) November 8, 2018
At the age of 10 I was sent as a scholarship student to a boarding school for the uber-rich in Massachusetts. I lived among the wealthiest Americans for the next eight years. I listened to their prejudices and saw their cloying sense of entitlement. They insisted they were privileged and wealthy because they were smarter and more talented. They had a sneering disdain for those ranked below them in material and social status, even the merely rich. Most of the uber-rich lacked the capacity for empathy and compassion. They formed elite cliques that hazed, bullied and taunted any nonconformist who defied or did not fit into their self-adulatory universe.
It was impossible to build a friendship with most of the sons of the uber-rich. Friendship for them was defined by “what’s in it for me?” They were surrounded from the moment they came out of the womb by people catering to their desires and needs. They were incapable of reaching out to others in distress—whatever petty whim or problem they had at the moment dominated their universe and took precedence over the suffering of others, even those within their own families. They knew only how to take. They could not give. They were deformed and deeply unhappy people in the grip of an unquenchable narcissism.
It is essential to understand the pathologies of the uber-rich. They have seized total political power. These pathologies inform Donald Trump, his children, the Brett Kavanaughs, and the billionaires who run his administration. The uber-rich cannot see the world from anyone’s perspective but their own. People around them, including the women whom entitled men prey upon, are objects designed to gratify momentary lusts or be manipulated. The uber-rich are almost always amoral. Right. Wrong. Truth. Lies. Justice. Injustice. These concepts are beyond them. Whatever benefits or pleases them is good. What does not must be destroyed.
The pathology of the uber-rich is what permits Trump and his callow son-in-law, Jared Kushner, to conspire with de facto Saudi ruler Mohammed bin Salman, another product of unrestrained entitlement and nepotism, to cover up the murder of the journalist Jamal Khashoggi, whom I worked with in the Middle East. The uber-rich spend their lives protected by their inherited wealth, the power it wields and an army of enablers, including other members of the fraternity of the uber-rich, along with their lawyers and publicists. There are almost never any consequences for their failures, abuses, mistreatment of others and crimes. This is why the Saudi crown prince and Kushner have bonded. They are the homunculi the uber-rich routinely spawn.
The rule of the uber-rich, for this reason, is terrifying. They know no limits. They have never abided by the norms of society and never will. We pay taxes—they don’t. We work hard to get into an elite university or get a job—they don’t. We have to pay for our failures—they don’t. We are prosecuted for our crimes—they are not.
The uber-rich live in an artificial bubble, a land called Richistan, a place of Frankenmansions and private jets, cut off from our reality. Wealth, I saw, not only perpetuates itself but is used to monopolize the new opportunities for wealth creation. Social mobility for the poor and the working class is largely a myth. The uber-rich practice the ultimate form of affirmative action, catapulting white, male mediocrities like Trump, Kushner and George W. Bush into elite schools that groom the plutocracy for positions of power. The uber-rich are never forced to grow up. They are often infantilized for life, squalling for what they want and almost always getting it. And this makes them very, very dangerous.
Political theorists, from Aristotle and Karl Marx to Sheldon Wolin, have warned against the rule of the uber-rich. Once the uber-rich take over, Aristotle writes, the only options are tyranny and revolution. They do not know how to nurture or build. They know only how to feed their bottomless greed. It’s a funny thing about the uber-rich: No matter how many billions they possess, they never have enough. They are the Hungry Ghosts of Buddhism. They seek, through the accumulation of power, money and objects, an unachievable happiness. This life of endless desire often ends badly, with the uber-rich estranged from their spouses and children, bereft of genuine friends. And when they are gone, as Charles Dickens wrote in “A Christmas Carol,” most people are glad to be rid of them.
C. Wright Mills in “The Power Elite,” one of the finest studies of the pathologies of the uber-rich, wrote:
They exploited national resources, waged economic wars among themselves, entered into combinations, made private capital out of the public domain, and used any and every method to achieve their ends. They made agreements with railroads for rebates; they purchased newspapers and bought editors; they killed off competing and independent businesses and employed lawyers of skill and statesmen of repute to sustain their rights and secure their privileges. There is something demonic about these lords of creation; it is not merely rhetoric to call them robber barons.
Corporate capitalism, which has destroyed our democracy, has given unchecked power to the uber-rich. And once we understand the pathologies of these oligarchic elites, it is easy to chart our future. The state apparatus the uber-rich controls now exclusively serves their interests. They are deaf to the cries of the dispossessed. They empower those institutions that keep us oppressed—the security and surveillance systems of domestic control, militarized police, Homeland Security and the military—and gut or degrade those institutions or programs that blunt social, economic and political inequality, among them public education, health care, welfare, Social Security, an equitable tax system, food stamps, public transportation and infrastructure, and the courts. The uber-rich extract greater and greater sums of money from those they steadily impoverish. And when citizens object or resist, they crush or kill them.
The uber-rich care inordinately about their image. They are obsessed with looking at themselves. They are the center of their own universe. They go to great lengths and expense to create fictional personas replete with nonexistent virtues and attributes. This is why the uber-rich carry out acts of well-publicized philanthropy. Philanthropy allows the uber-rich to engage in moral fragmentation. They ignore the moral squalor of their lives, often defined by the kind of degeneracy and debauchery the uber-rich insist is the curse of the poor, to present themselves through small acts of charity as caring and beneficent. Those who puncture this image, as Khashoggi did with Salman, are especially despised. And this is why Trump, like all the uber-rich, sees a critical press as the enemy. It is why Trump’s and Kushner’s eagerness to conspire to help cover up Khashoggi’s murder is ominous. Trump’s incitements to his supporters, who see in him the omnipotence they lack and yearn to achieve, to carry out acts of violence against his critics are only a few steps removed from the crown prince’s thugs dismembering Khashoggi with a bone saw. And if you think Trump is joking when he suggests the press should be dealt with violently you understand nothing about the uber-rich. He will do what he can get away with, even murder. He, like most of the uber-rich, is devoid of a conscience.
The more enlightened uber-rich, the East Hamptons and Upper East Side uber-rich, a realm in which Ivanka and Jared once cavorted, look at the president as gauche and vulgar. But this distinction is one of style, not substance. Donald Trump may be an embarrassment to the well-heeled Harvard and Princeton graduates at Goldman Sachs, but he serves the uber-rich as assiduously as Barack Obama and the Democratic Party do. This is why the Obamas, like the Clintons, have been inducted into the pantheon of the uber-rich. It is why Chelsea Clinton and Ivanka Trump were close friends. They come from the same caste.
There is no force within ruling institutions that will halt the pillage by the uber-rich of the nation and the ecosystem. The uber-rich have nothing to fear from the corporate-controlled media, the elected officials they bankroll or the judicial system they have seized. The universities are pathetic corporation appendages. They silence or banish intellectual critics who upset major donors by challenging the reigning ideology of neoliberalism, which was formulated by the uber-rich to restore class power. The uber-rich have destroyed popular movements, including labor unions, along with democratic mechanisms for reform that once allowed working people to pit power against power. The world is now their playground.
In “The Postmodern Condition” the philosopher Jean-François Lyotard painted a picture of the future neoliberal order as one in which “the temporary contract” supplants “permanent institutions in the professional, emotional, sexual, cultural, family and international domains, as well as in political affairs.” This temporal relationship to people, things, institutions and the natural world ensures collective self-annihilation. Nothing for the uber-rich has an intrinsic value. Human beings, social institutions and the natural world are commodities to exploit for personal gain until exhaustion or collapse. The common good, like the consent of the governed, is a dead concept. This temporal relationship embodies the fundamental pathology of the uber-rich.
The uber-rich, as Karl Polanyi wrote, celebrate the worst kind of freedom—the freedom “to exploit one’s fellows, or the freedom to make inordinate gains without commensurable service to the community, the freedom to keep technological inventions from being used for public benefit, or the freedom to profit from public calamities secretly engineered for private advantage.” At the same time, as Polanyi noted, the uber-rich make war on the “freedom of conscience, freedom of speech, freedom of meeting, freedom of association, freedom to choose one’s own job.”
The dark pathologies of the uber-rich, lionized by mass culture and mass media, have become our own. We have ingested their poison. We have been taught by the uber-rich to celebrate the bad freedoms and denigrate the good ones. Look at any Trump rally. Watch any reality television show. Examine the state of our planet. We will repudiate these pathologies and organize to force the uber-rich from power or they will transform us into what they already consider us to be—the help.
“The poor and the underclass are growing. Racial justice and human rights are nonexistent. They have created a repressive society and we are their unwitting accomplices. Their intention to rule rests with the annihilation of consciousness. We have been lulled into a trance. They have made us indifferent to ourselves, to others. We are focused only on our own gain.”—They Live, John Carpenter
We’re living in two worlds, you and I.
There’s the world we see (or are made to see) and then there’s the one we sense (and occasionally catch a glimpse of), the latter of which is a far cry from the propaganda-driven reality manufactured by the government and its corporate sponsors, including the media.
Indeed, what most Americans perceive as life in America—privileged, progressive and free—is a far cry from reality, where economic inequality is growing, real agendas and real power are buried beneath layers of Orwellian doublespeak and corporate obfuscation, and “freedom,” such that it is, is meted out in small, legalistic doses by militarized police armed to the teeth.
All is not as it seems.
“You see them on the street. You watch them on TV. You might even vote for one this fall. You think they’re people just like you. You’re wrong. Dead wrong.”
This is the premise of John Carpenter’s film They Live, which was released 30 years ago in November 1988 and remains unnervingly, chillingly appropriate for our modern age.
Best known for his horror film Halloween, which assumes that there is a form of evil so dark that it can’t be killed, Carpenter’s larger body of work is infused with a strong anti-authoritarian, anti-establishment, laconic bent that speaks to the filmmaker’s concerns about the unraveling of our society, particularly our government.
Time and again, Carpenter portrays the government working against its own citizens, a populace out of touch with reality, technology run amok, and a future more horrific than any horror film.
In Escape from New York, Carpenter presents fascism as the future of America.
In The Thing, a remake of the 1951 sci-fi classic of the same name, Carpenter presupposes that increasingly we are all becoming dehumanized.
In Christine, the film adaptation of Stephen King’s novel about a demon-possessed car, technology exhibits a will and consciousness of its own and goes on a murderous rampage.
In In the Mouth of Madness, Carpenter notes that evil grows when people lose “the ability to know the difference between reality and fantasy.”
And then there is Carpenter’s They Live, in which two migrant workers discover that the world is not as it seems. In fact, the population is actually being controlled and exploited by aliens working in partnership with an oligarchic elite. All the while, the populace—blissfully unaware of the real agenda at work in their lives—has been lulled into complacency, indoctrinated into compliance, bombarded with media distractions, and hypnotized by subliminal messages beamed out of television and various electronic devices, billboards and the like.
It is only when homeless drifter John Nada (played to the hilt by the late Roddy Piper) discovers a pair of doctored sunglasses—Hoffman lenses—that Nada sees what lies beneath the elite’s fabricated reality: control and bondage.
When viewed through the lens of truth, the elite, who appear human until stripped of their disguises, are shown to be monsters who have enslaved the citizenry in order to prey on them.
Likewise, billboards blare out hidden, authoritative messages: a bikini-clad woman in one ad is actually ordering viewers to “MARRY AND REPRODUCE.” Magazine racks scream “CONSUME” and “OBEY.” A wad of dollar bills in a vendor’s hand proclaims, “THIS IS YOUR GOD.”
When viewed through Nada’s Hoffman lenses, some of the other hidden messages being drummed into the people’s subconscious include: NO INDEPENDENT THOUGHT, CONFORM, SUBMIT, STAY ASLEEP, BUY, WATCH TV, NO IMAGINATION, and DO NOT QUESTION AUTHORITY.
This indoctrination campaign engineered by the elite in They Live is painfully familiar to anyone who has studied the decline of American culture.
A citizenry that does not think for themselves, obeys without question, is submissive, does not challenge authority, does not think outside the box, and is content to sit back and be entertained is a citizenry that can be easily controlled.
In this way, the subtle message of They Live provides an apt analogy of our own distorted vision of life in the American police state, what philosopher Slavoj Žižek refers to as dictatorship in democracy, “the invisible order which sustains your apparent freedom.”
We’re being fed a series of carefully contrived fictions that bear no resemblance to reality.
The powers-that-be want us to feel threatened by forces beyond our control (terrorists, shooters, bombers).
They want us afraid and dependent on the government and its militarized armies for our safety and well-being.
They want us distrustful of each other, divided by our prejudices, and at each other’s throats.
Most of all, they want us to continue to march in lockstep with their dictates.
Tune out the government’s attempts to distract, divert and befuddle us and tune into what’s really going on in this country, and you’ll run headlong into an unmistakable, unpalatable truth: the moneyed elite who rule us view us as expendable resources to be used, abused and discarded.
In fact, a study conducted by Princeton and Northwestern University concluded that the U.S. government does not represent the majority of American citizens. Instead, the study found that the government is ruled by the rich and powerful, or the so-called “economic elite.” Moreover, the researchers concluded that policies enacted by this governmental elite nearly always favor special interests and lobbying groups.
In other words, we are being ruled by an oligarchy disguised as a democracy, and arguably on our way towards fascism—a form of government where private corporate interests rule, money calls the shots, and the people are seen as mere subjects to be controlled.
Not only do you have to be rich—or beholden to the rich—to get elected these days, but getting elected is also a surefire way to get rich. As CBS News reports, “Once in office, members of Congress enjoy access to connections and information they can use to increase their wealth, in ways that are unparalleled in the private sector. And once politicians leave office, their connections allow them to profit even further.”
In denouncing this blatant corruption of America’s political system, former president Jimmy Carter blasted the process of getting elected—to the White House, governor’s mansion, Congress or state legislatures—as “unlimited political bribery… a subversion of our political system as a payoff to major contributors, who want and expect, and sometimes get, favors for themselves after the election is over.”
Rest assured that when and if fascism finally takes hold in America, the basic forms of government will remain: Fascism will appear to be friendly. The legislators will be in session. There will be elections, and the news media will continue to cover the entertainment and political trivia. Consent of the governed, however, will no longer apply. Actual control will have finally passed to the oligarchic elite controlling the government behind the scenes.
Sound familiar?
Clearly, we are now ruled by an oligarchic elite of governmental and corporate interests.
We have moved into “corporatism” (favored by Benito Mussolini), which is a halfway point on the road to full-blown fascism.
Corporatism is where the few moneyed interests—not elected by the citizenry—rule over the many. In this way, it is not a democracy or a republican form of government, which is what the American government was established to be. It is a top-down form of government and one which has a terrifying history typified by the developments that occurred in totalitarian regimes of the past: police states where everyone is watched and spied on, rounded up for minor infractions by government agents, placed under police control, and placed in detention (a.k.a. concentration) camps.
For the final hammer of fascism to fall, it will require the most crucial ingredient: the majority of the people will have to agree that it’s not only expedient but necessary.
But why would a people agree to such an oppressive regime?
Fear is the method most often used by politicians to increase the power of government. And, as most social commentators recognize, an atmosphere of fear permeates modern America: fear of terrorism, fear of the police, fear of our neighbors and so on.
The propaganda of fear has been used quite effectively by those who want to gain control, and it is working on the American populace.
Despite the fact that we are 17,600 times more likely to die from heart disease than from a terrorist attack; 11,000 times more likely to die from an airplane accident than from a terrorist plot involving an airplane; 1,048 times more likely to die from a car accident than a terrorist attack, and 8 times more likely to be killed by a police officer than by a terrorist , we have handed over control of our lives to government officials who treat us as a means to an end—the source of money and power.
As the Bearded Man in They Live warns, “They are dismantling the sleeping middle class. More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
In this regard, we’re not so different from the oppressed citizens in They Live.
From the moment we are born until we die, we are indoctrinated into believing that those who rule us do it for our own good. The truth is far different.
Despite the truth staring us in the face, we have allowed ourselves to become fearful, controlled, pacified zombies.
We live in a perpetual state of denial, insulated from the painful reality of the American police state by wall-to-wall entertainment news and screen devices.
Most everyone keeps their heads down these days while staring zombie-like into an electronic screen, even when they’re crossing the street. Families sit in restaurants with their heads down, separated by their screen devices and unaware of what’s going on around them. Young people especially seem dominated by the devices they hold in their hands, oblivious to the fact that they can simply push a button, turn the thing off and walk away.
Indeed, there is no larger group activity than that connected with those who watch screens—that is, television, lap tops, personal computers, cell phones and so on. In fact, a Nielsen study reports that American screen viewing is at an all-time high. For example, the average American watches approximately 151 hours of television per month.
The question, of course, is what effect does such screen consumption have on one’s mind?
Psychologically it is similar to drug addiction. Researchers found that “almost immediately after turning on the TV, subjects reported feeling more relaxed, and because this occurs so quickly and the tension returns so rapidly after the TV is turned off, people are conditioned to associate TV viewing with a lack of tension.” Research also shows that regardless of the programming, viewers’ brain waves slow down, thus transforming them into a more passive, nonresistant state.
Historically, television has been used by those in authority to quiet discontent and pacify disruptive people. “Faced with severe overcrowding and limited budgets for rehabilitation and counseling, more and more prison officials are using TV to keep inmates quiet,” according to Newsweek.
Given that the majority of what Americans watch on television is provided through channels controlled by six mega corporations, what we watch is now controlled by a corporate elite and, if that elite needs to foster a particular viewpoint or pacify its viewers, it can do so on a large scale.
If we’re watching, we’re not doing.
The powers-that-be understand this. As television journalist Edward R. Murrow warned in a 1958 speech:
We are currently wealthy, fat, comfortable and complacent. We have currently a built-in allergy to unpleasant or disturbing information. Our mass media reflect this. But unless we get up off our fat surpluses and recognize that television in the main is being used to distract, delude, amuse, and insulate us, then television and those who finance it, those who look at it, and those who work at it, may see a totally different picture too late.
This brings me back to They Live, in which the real zombies are not the aliens calling the shots but the populace who are content to remain controlled.
When all is said and done, the world of They Live is not so different from our own.
We, too, are focused only on our own pleasures, prejudices and gains. Our poor and underclasses are also growing. Racial injustice is growing. Human rights is nearly nonexistent. We too have been lulled into a trance, indifferent to others.
Oblivious to what lies ahead, we’ve been manipulated into believing that if we continue to consume, obey, and have faith, things will work out. But that’s never been true of emerging regimes. And by the time we feel the hammer coming down upon us, it will be too late.
So where does that leave us?
The characters who populate Carpenter’s films provide some insight.
Underneath their machismo, they still believe in the ideals of liberty and equal opportunity. Their beliefs place them in constant opposition with the law and the establishment, but they are nonetheless freedom fighters.
When, for example, John Nada destroys the alien hyno-transmitter in They Live, he restores hope by delivering America a wake-up call for freedom.
That’s the key right there: we need to wake up.
Stop allowing yourselves to be easily distracted by pointless political spectacles and pay attention to what’s really going on in the country.
The real battle for control of this nation is not being waged between Republicans and Democrats in the ballot box.
As I make clear in my book Battlefield America: The War on the American People, the real battle for control of this nation is taking place on roadsides, in police cars, on witness stands, over phone lines, in government offices, in corporate offices, in public school hallways and classrooms, in parks and city council meetings, and in towns and cities across this country.
The real battle between freedom and tyranny is taking place right in front of our eyes, if we would only open them.
All the trappings of the American police state are now in plain sight.
Wake up, America.
If they live (the tyrants, the oppressors, the invaders, the overlords), it is only because “we the people” sleep.
Jamie Fly, a former high-ranking Bush era neocon, believes you shouldn’t have the right to post on social media.
“Fly went on to complain that ‘all you need is an email’ to set up a Facebook or Twitter account, lamenting the sites’ accessibility to members of the general public. He predicted a long struggle on a global scale to fix the situation, and pointed out that to do so would require constant vigilance,” writeJeb Sprague and Max Blumenthal.
This attitude shouldn’t come as a surprise. Neocons believe they are a special breed, the chosen few of an intellectual crème de la crème, and the rest of us are merely bread and circus spectators on the sidelines as they forge our collective history (and increasingly possible ruin).
Fly is a research associate at the Council on Foreign Relations. He “served” in the National Security Council and the Defense Department during the Bush presidency. He also worked at the Claremont Institute and the American Enterprise Institute. Fly tutored presumptive presidential candidate Marco Rubio on foreign policy and he is the former director of the Foreign Policy Initiative, a staunch neocon advocacy group founded by arch neocons William Kristol, Robert Kagan, and Dan Senor.
He is now a senior fellow and director of the Asia program at the German Marshall Fund, an organization funded by the US government and NATO. The German Marshall Fund organized the Alliance for Securing Democracy and its Hamilton 68 effort to destroy alternative media under the false (and largely debunked) claim it is a cutout for Russia and Vladimir Putin who are, we are reminded daily, dedicated to destroying democracy and taking down the exceptional and indispensable nation.
Jamie Fly and his coconspirators Laura Rosenberger and J.M. Berger know the Russians aren’t responsible for thousands of alternate media websites and social media accounts. They know this phenomenon, which began with the birth of the World Wide Web in the mid-1990s, is homespun and has absolutely nothing to do with Russia. It is their mission to make sure the establishment is free to promulgate its lies and war propaganda without counterbalance and the interruption of truth.
These folks are digital book burners on par with Nazis who burned books in Berlin on the Opernplatz in May of 1933. Like the Nazis, they want to silence those who counter the narrative. For the Nazis, the targets were communists, socialists, anarchists, and all who opposed fascism, while our new book burners—liquidators of heresy against the ruling elite—are focused on groups and individuals challenging the lies and half-truths of the state regardless of ideology.
For the elite, populism and nationalism represent a twin threat to the emerging globalist scheme of a one-world government and currency directed by a cadre of unelected bureaucrats and ideologues.
Donald Trump portrayed himself as a patriot and nationalist—Make America Great Again—however after the election the same old crowd of CFR operatives, Goldman Sachs alumni, and hardcore neocons staffed his administration, thus making the realization of his campaign promises virtually impossible.
The ruling elite, their functionaries and proxies have declared war on “alternative facts,” that is to say information contrary and even hostile to the narrative. While it is true the corporate media has lost some influence, it still projects a powerful influence on public opinion, especially in the current highly polarized political climate.
For instance, it is now assumed a Trump supporter send bombs to Democrats, and this has become a trending topic on social media. There is zero evidence a Trump supporter had anything to do with this incident, and yet the hashtag “MAGABomber” has gone viral on social media, demonstrating how easily it is to sell lies and fabrications to a polarized public.
Fly and his digital book burning associates will not stop until the last vestiges of the alternative media are wiped out. This process is underway now with a number of popular alternative media websites losing significant traffic following removal from social media.
As Mr. Fly says, this is only the beginning. They will not stop until the challenge is defeated and the digital information landscape is once again completely in control of the psychopaths at the top and their well-paid minions pushing the idiotic lie that Putin and the Russians are responsible.
The continuing rise of fascism around the world is drawing increasing attention particularly as it takes firmer grip within national societies long seen to have rejected it.
Some recent studies have reminded us of the characteristics of fascist movements and individuals, particularly as they manifest among politically active fascists. For example, in his recent book How Fascism Works: The Politics of Us And Them Professor Jason Stanley has identified ten characteristics shared by fascists which have been simply presented in the article ‘Prof Sees Fascism Creeping In U.S.’
These characteristics, readily evident in the USA, Europe, Israel, Saudi Arabia, Myanmar and elsewhere today, include belief in a mythic (false) past, propaganda to divert attention and blame from the true source of corruption, anti-intellectualism and a belief in the ‘common man’ while deriding ‘women and racial and sexual minorities who seek basic equality as in fact seeking political and cultural domination’, promotion of elite dogma at the expense of any competing ideas (such as those in relation to freedom and equality), portrayal of the elite and its agents as victims, reliance on delusion rather than fact to justify their pursuit of power, the use of law and order ‘not to punish actual criminals, but to criminalize “out groups” like racial, ethnic, religious and sexual minorities’ which is why we are now ‘seeing criminality being written into immigration status’, and identification of “out groups” as lazy while attacking welfare systems and labor organizers, and promoting the idea that elites and their agents are hard working while exploited groups are lazy and a drain on the state.
In an earlier article ‘Fascism Anyone?’, published in the Spring 2003 issue of Free Inquiry Magazine, Professor Laurence W. Britt identified fourteen shared threads that link fascists. These include powerful and continuing expressions of nationalism, disdain for the importance of human rights, identification of enemies/scapegoats (such as communists, socialists, liberals, ethnic and racial minorities, traditional national enemies, members of other religions, secularists, homosexuals and ‘terrorists’) as a unifying cause, obsession with national security and avid identification with the military, sexism, a controlled/compliant mass media that promotes the elite agenda, a manufactured perception that opposing the power elite is tantamount to an attack on religion, corporate power protected by the political elite while the power of labor is suppressed or eliminated, disdain for intellectuals and the arts, expanded police power and prison populations in response to an obsession with the crime and punishment of ordinary citizens (while elite crimes are protected by a compliant judiciary), rampant cronyism and corruption, and fraudulent elections defended by a judiciary beholden to the power elite.
Offering a more straightforward characterization of fascism in the US context, which also highlights its violence more explicitly than the characterizations above, the eminent Norwegian peace research scholar Professor Johan Galtung explains it thus: ‘US Fascism? Yes, indeed; if by fascism we mean use of massive violence for political goals. US fascism takes three forms: global with bombing, droning and sniping all over; domestic with military weapons used across race and class faultlines; and then NSA-National Security Agency spying on everybody.’ See ‘The Fall of the US Empire – And Then What?’
In any case, for those paying attention to what is happening in places like the United States, Europe, Israel, Saudi Arabia, Myanmar and elsewhere, it is easy to see that the rush to embrace fascism is accelerating.
But why? Surely, in this ‘enlightened’ age, notions such as freedom, democracy, human rights and equality are deeply embedded in our collective psyche, particularly in the West. We believe that elections should be, and are, ‘free and fair’ and not determined by corporate donations; we believe that the judiciary is independent of political and corporate influence. But are they?
Well, in fact, the evidence offered by the casual observation of events in the places mentioned above, as well as elsewhere around the world, tells us that none of this is any longer, if it ever was, the case. Let me explain why.
Fascism is a political label but, like any such label, it has a psychological foundation. That is, the political behavior of those who are fascists can be explained by understanding their psychology. Of course, all behavior can be explained by psychology but I will focus on the psychology of fascist behavior here.
There have been attempts to understand and explain the psychology of fascism, starting with the early work of Wilhelm Reich in The Mass Psychology of Fascism. So what is the psychology of individuals who are fascists?
You might not be surprised to read that the psychology of fascists is complex and is a direct outcome of the nature of the extraordinary violence to which they were subjected as children.
The Psychology of Fascists
Let me briefly identify the psychological profile of fascists and the specific violence (‘visible’, ‘invisible’ and ‘utterly invisible’) that generates a person with this psychology. For a thorough explanation and elaboration of this profile, and explanations of the terms ‘visible’, ‘invisible’ and ‘utterly invisible’ violence, see ‘Why Violence?’ and ‘Fearless Psychology and Fearful Psychology: Principles and Practice’.
First, fascists are terrified and they are particularly terrified of those individuals who perpetrated violence against them when they were a child although this terror remains unconscious to them. Second, this terror is so extreme that fascists are too terrified to consciously identify to themselves their own perpetrator (one or both parents and/or other significant adults who were supposed to love them) and to say that it is this individual or individuals who are violent and wrong.
Third, because they are terrified, they are unable to defend themselves against the original perpetrator(s) but also, as a result, they are unable to defend themselves against other perpetrators who attack them later in life. This lack of capacity to defend themselves leads to the fourth and fifth attributes – a deep sense of powerlessness and a deep sense of self-hatred. However, it is too terrifying and painful for the individual to be consciously aware of any of these feelings/attributes.
Sixth, because they are terrified of identifying that they are the victim of the violence of their own parents (and/or other significant adults from their childhood) and that this violence terrified them, fascists unconsciously delude themselves about the identity of their own perpetrator. They will unconsciously identify their ‘perpetrator’ as one or more individuals of whom they are not actually afraid from an existing ‘legitimized victim’ group such as children or people from a different gender, race, religion or class. This is also because their unconscious terror and self-hatred compels them to project onto people who are ‘controllable’ (because their original perpetrators never were). For this reason, their victims are (unconsciously) carefully chosen and are always relatively powerless by comparison.
This is easy to do because, seventh, children who become fascists have been terrorized into accepting a very narrow-minded and dogmatic belief set that excludes consideration of those in other social (including gender, racial, religious or class) groups. The idea that they might open-mindedly consider other beliefs, or the rights of those not in the ‘in-group’, is (unconsciously) terrifying to them. Moreover, because they have been terrorized into adopting their rigid belief set, fascists develop an intense fear of the truth; hence, fascists are both bigoted and self-righteous. In addition, the belief set of fascists includes a powerful and violently reinforced ‘lesson’: ‘good’ means obedient; it does not mean intrinsically good, loving and caring.
Eighth, and as a result of all of the above, fascists learn to unconsciously project their self-hatred, one outcome of their own victimhood, as hatred for those in the ‘out-groups’. This ‘justifies’ their (violent) behavior and obscures their unconscious motivation: to remain unaware of their own suppressed terror and self-hatred.
Ninth, fascists have a compulsion to be violent; that is, they are addicted to it. Why? Because the act of violence allows them to explosively release the suppressed feelings (usually some combination of fear, terror, pain, anger and powerlessness) so that they experience a brief sensation of delusional ‘relief’. Because the ‘relief’ is both brief and delusional, they are condemned to repeat their violence endlessly.
But the compulsion to be violent is reinforced by another element in their belief set, the tenth characteristic: fascists have a delusional belief in the effectiveness and morality of violence; they have no capacity to perceive its dysfunctionality and immorality.
And eleventh, the extreme social terrorization experience to which fascists have been subjected means that the feelings of love, compassion, empathy and sympathy, as well as the mental function of conscience, are prevented from developing. Devoid of conscience and these feelings, fascists can inflict violence on others, including their own children, without experiencing the feedback that conscience and these feelings would provide.
What Can We Do?
There is no simple formula for healing the badly damaged psychology of a fascist (or those who occupy a proximate ‘political space’ such as conservatives who advocate violence): it takes years of violent parental and adult treatment to create a fascist and so the path to heal one is long and painful, assuming the support for the individual to do so is available. Nevertheless, fascists can heal from the terror and self-hatred that underpin their psychology. See ‘Putting Feelings First’. And they can be assisted to heal by someone who is skilled in the art of deep listening. See ‘Nisteling: The Art of Deep Listening’.
Unfortunately, given their cowardice, fascists are unlikely to have the courage to seek the appropriate emotional support to heal. In the meantime, those of us so inclined must resist their violence and, ideally, this should be done strategically, particularly if we want impact against fascist national leaders. See Nonviolent Campaign Strategy or Nonviolent Defense/Liberation Strategy.
The good news is that we can avoid creating fascists. If you want to nurture a child so that they become compassionate and caring, live by their conscience and act with morality and courage in all circumstances, including when resisting fascists, then consider making ‘My Promise to Children’.
In essence: Fascists are terrified, full of self-hatred and powerless. But, too scared to feel their own terror, self-hatred and powerlessness, they unconsciously project this as fear of, and hatred for, the people in one or more ‘legitimized victim’ groups, including their own children (thus creating the next generation of fascists). They then try to ‘feel powerful’ by seeking violent control over these people themselves or by seeking to have violent control exercised over these people by various ‘authorities’, ranging from school teachers and religious figures to the police, military and various corporate and government agencies.
No matter how much control they have over others, however, it is impossible to control their own terror, self-hatred and powerlessness. So they are unconsciously and endlessly driven to seek (delusional) ‘relief’ by violently controlling those in legitimized victim groups. It is because their own children are the most immediately available ‘uncontrollable’ target that fascism is readily perpetuated.
Biodata: Robert J. Burrowes has a lifetime commitment to understanding and ending human violence. He has done extensive research since 1966 in an effort to understand why human beings are violent and has been a nonviolent activist since 1981. He is the author of ‘Why Violence?’ http://tinyurl.com/whyviolence His email address is flametree@riseup.net and his website is here. http://robertjburrowes.wordpress.com
Robert J. Burrowes
P.O. Box 68
Daylesford, Victoria 3460
Australia
This month, Facebook and Twitter deleted the accounts of hundreds of users, including many alternative media outlets maintained by American users. Among those wiped out in the coordinated purge were popular sites that scrutinized police brutality and U.S. interventionism like The Free Thought Project, Anti-Media, Cop Block and journalists like Rachel Blevins.
Facebook claimed that these sites had “broken our rules against spam and coordinated inauthentic behavior.” However, sites like The Free Thought Project were verified by Facebook and widely recognized as legitimate sources of news and opinion. John Vibes, an independent reporter who contributed to Free Thought, accused Facebook of “favoring mainstream sources and silencing alternative voices.”
In comments published here for the first time, a neoconservative Washington insider has apparently claimed a degree of credit for the recent purge and promised more takedowns in the near future.
“Russia, China, and other foreign states take advantage of our open political system,” remarked Jamie Fly, a senior fellow and director of the Asia program at the German Marshall Fund. “They can invent stories that get repeated and spread through different sites. So we are just starting to push back. Just this last week Facebook began starting to take down sites. So this is just the beginning.”
Fly went on to complain that “all you need is an email” to set up a Facebook or Twitter account, lamenting the sites’ accessibility to members of the general public. He predicted a long struggle on a global scale to fix the situation, and pointed out that to do so would require constant vigilance.
Fly made these stunning comments to Jeb Sprague, who is a visiting faculty in sociology at the University of California-Santa Barbara and co-author of this article. The two spoke during a lunch break at a conference on Asian security organized by the Stiftung Wissenschaft und Politik in Berlin, Germany.
In the tweet below, Fly is the third person from the left who appears seated at the table.
The remarks by Fly — “we are just starting to push back” — seemed to confirm the worst fears of the alternative online media community. If he was to be believed, the latest purge was motivated by politics, not spam prevention, and was driven by powerful interests hostile to dissident views, particularly where American state violence is concerned.
Rise of a neocon cadre
Jamie Fly is an influential foreign policy hardliner who has spent the last year lobbying for the censorship of “fringe views” on social media. Over the years, he has advocated for a military assault on Iran, a regime change war on Syria, and hiking military spending to unprecedented levels. He is the embodiment of a neoconservative cadre.
Like so many second generation neocons, Fly entered government by burrowing into mid-level positions in George W. Bush’s National Security Council and Department of Defense.
In 2009, he was appointed director of the Foreign Policy Initiative (FPI), a rebranded version of Bill Kristol’s Project for a New American Century, or PNAC. The latter outfit was an umbrella group of neoconservative activists that first made the case for an invasion of Iraq as part of a wider project of regime change in countries that resisted Washington’s sphere of influence.
By 2011, Fly was advancing the next phase in PNAC’s blueprint by clamoring for military strikes on Iran. “More diplomacy is not an adequate response,” he argued. A year later, Fly urged the US to “expand its list of targets beyond the [Iranian] nuclear program to key command and control elements of the Republican Guard and the intelligence ministry, and facilities associated with other key government officials.”
Fly soon found his way into the senate office of Marco Rubio, a neoconservative pet project, assuming a role as his top foreign policy advisor. Amongst other interventionist initiatives, Rubio has taken the lead in promoting harsh economic sanctions targeting Venezuela, even advocating for a U.S. military assault on the country. When Rubio’s 2016 presidential campaign floundered amid a mass revolt of the Republican Party’s middle American base against the party establishment, Fly was forced to cast about for new opportunities.
He found them in the paranoid atmosphere of Russiagate that formed soon after Donald Trump’s shock election victory.
PropOrNot sparks the alternative media panic
A journalistic insider’s account of the Hillary Clinton presidential campaign, Shattered, revealed that “in the days after the election, Hillary declined to take responsibility for her own loss.” Her top advisers were summoned the following day, according to the book, “to engineer the case that the election wasn’t entirely on the up-and-up … Already, Russian hacking was the centerpiece of the argument.”
Less than three weeks after Clinton’s defeat, the Washington Post’s Craig Timberg published a dubiously sourced report headlined, “Russian propaganda effort helped spread ‘fake news.’” The article hyped up a McCarthyite effort by a shadowy, anonymously run organization called PropOrNot to blacklist some 200 American media outlets as Russian “online propaganda.”
The alternative media outfits on the PropOrNot blacklist included some of those recently purged by Facebook and Twitter, such as The Free Thought Project and Anti-Media. Among the criteria PropOrNot identified as signs of Russian propaganda were, “Support for policies like Brexit, and the breakup of the EU and Eurozone” and, “Opposition to Ukrainian resistance to Russia and Syrian resistance to Assad.” PropOrNot called for “formal investigations by the U.S. government” into the outlets it had blacklisted.
According to Craig Timberg, the Washington Post correspondent who uncritically promoted the media suppression initiative, Propornot was established by “a nonpartisan collection of researchers with foreign policy, military and technology backgrounds.” Timberg quoted a figure associated with the George Washington University Center for Cyber and Homeland Security, Andrew Weisburd, and cited a report he wrote with his colleague, Clint Watts, on Russian meddling.
Timberg’s piece on was PropOrNot was promoted widely by former top Clinton staffers and celebrated by ex-Obama White House aide Dan Pfeiffer as “the biggest story in the world.” But after a wave of stinging criticism, including in the pages of the New Yorker, the article was amended with an editor’s note stating, “The [Washington] Post… does not itself vouch for the validity of PropOrNot’s findings regarding any individual media outlet.”
PropOrNot had been seemingly exposed as a McCarthyite sham, but the concept behind it — exposing online American media outlets as vehicles for Kremlin “active measures” — continued to flourish.
The birth of the Russian bot tracker
By August, a new, and seemingly related initiative appeared out of the blue, this time with backing from a bipartisan coalition of Democratic foreign policy hands and neocon Never Trumpers in Washington. Called the Alliance for Securing Democracy (ASD), the outfit aimed to expose how supposed Russian Twitter bots were infecting American political discourse with divisive narratives. It featured a daily “Hamilton 68” online dashboard that highlighted the supposed bot activity with easily digestible charts. Conveniently, the site avoided naming any of the digital Kremlin influence accounts it claimed to be tracking.
The initiative was immediately endorsed by John Podesta, the founder of the Democratic Party think tank, Center for American Progress, and former chief of staff of Hillary Clinton’s 2016 presidential campaign. Julia Ioffe, the Atlantic’s chief Russiagate correspondent, promoted the bot tracker as “a very cool tool.”
Unlike PropOrNot, the ASD was sponsored by one of the most respected think tanks in Washington, the German Marshall Fund, which had been founded in 1972 to nurture the special relationship between the US and what was then West Germany.
Though the German Marshall Fund did not name the donors that sponsored the initiative, it hosted a who’s who of bipartisan national security hardliners on the ASD’s advisory council, providing the endeavor with the patina of credibility. They ranged from neocon movement icon Bill Kristol to former Clinton foreign policy advisor Jake Sullivan to ex-CIA director Michael Morrell.
Jamie Fly, a German Marshall Fund fellow and Asia specialist, emerged as one of the most prolific promoters of the new Russian bot tracker in the media. Together with Laura Rosenberger, a former foreign policy aide to Hillary Clinton’s 2016 campaign, Fly appeared in a series of interviews and co-authored several op-eds emphasizing the need for a massive social media crackdown.
During a March 2018 interview on C-Span, Fly complained that “Russian accounts” were “trying to promote certain messages, amplify certain content, raise fringe views, pit Americans against each other, and we need to deal with this ongoing problem and find ways through the government, through tech companies, through broader society to tackle this issue.”
Yet few of the sites on PropOrNot’s blacklist, and none of the alternative sites that were erased in the recent Facebook purge that Fly and his colleagues take apparent credit for, were Russian accounts. Perhaps the only infraction they could have been accused of was publishing views that Fly and his cohorts saw as “fringe.”
What’s more, the ASD has been forced to admit that the mass of Twitter accounts it initially identified as “Russian bots” were not necessarily bots — and may not have been Russian either.
“I’m not convinced on this bot thing”
A November 2017 investigation by Max Blumenthal, a co-author of this article, found that the ASD’s Hamilton 68 dashboard was the creation of “a collection of cranks, counterterror retreads, online harassers and paranoiacs operating with support from some of the most prominent figures operating within the American national security apparatus.”
These figures included the same George Washington University Center for Cyber and Homeland Security fellows — Andrew Weisburd and Clint Watts — that were cited as experts in the Washington Post’s article promoting PropOrNot.
Weisburd, who has been described as one of the brains behind the Hamilton 68 dashboard, once maintained a one-man, anti-Palestinian web monitoring initiative that specialized in doxxing left-wing activists, Muslims and anyone he considered “anti-American.” More recently, he has taken to Twitter to spout off murderous and homophobic fantasies about Glenn Greenwald, the editor of the Intercept — a publication the ASD flagged without explanation as a vehicle for Russian influence operations.
Watts, for his part, has testified before Congress on several occasions to call on the government to “quell information rebellions” with censorious measures including “nutritional labels” for online media. He has received fawning publicity from corporate media and been rewarded with a contributor role for NBC on the basis of his supposed expertise in ferreting out Russian disinformation.
Clint Watts has urged Congress to “quell information rebellions”
However, under questioning during a public event by Grayzone contributor Ilias Stathatos, Watts admitted that substantial parts of his testimony were false, and refused to provide evidence to support some of his most colorful claims about malicious Russian bot activity.
In a separate interview with Buzzfeed, Watts appeared to completely disown the Hamilton 68 bot tracker as a legitimate tool. “I’m not convinced on this bot thing,” Watts confessed. He even called the narrative that he helped manufacture “overdone,” and admitted that the accounts Hamilton 68 tracked were not necessarily directed by Russian intelligence actors.
“We don’t even think they’re all commanded in Russia — at all. We think some of them are legitimately passionate people that are just really into promoting Russia,” Watts conceded.
But these stunning admissions did little to slow the momentum of the coming purge.
Enter the Atlantic Council
In his conversation with Sprague, the German Marshall Fund’s Fly stated that he was working with the Atlantic Council in the campaign to purge alternative media from social media platforms like Facebook.
The Atlantic Council is another Washington-based think tank that serves as a gathering point for neoconservatives and liberal interventionists pushing military aggression around the globe. It is funded by NATO and repressive, US-allied governments including Saudi Arabia, Bahrain and Turkey, as well as by Ukrainian oligarchs like Victor Pynchuk.
This May, Facebook announced a partnership with the Atlantic Council’s Digital Forensic Research Lab (DFRLab) to “identify, expose, and explain disinformation during elections around the world.”
The Atlantic Council’s DFRLab is notorious for its zealous conflation of legitimate online dissent with illicit Russian activity, embracing the same tactics as PropOrNot and the ASD.
Ben Nimmo, a DFRLab fellow who has built his reputation on flushing out online Kremlin influence networks, embarked on an embarrassing witch hunt this year that saw him misidentify several living, breathing individuals as Russian bots or Kremlin “influence accounts.” Nimmo’s victims included Mariam Susli, a well-known Syrian-Australian social media personality, the famed Ukrainian concert pianist Valentina Lisitsa, and a British pensioner named Ian Shilling.
In an interview with Sky News, Shilling delivered a memorable tirade against his accusers. “I have no Kremlin contacts whatsoever; I do not know any Russians, I have no contact with the Russian government or anything to do with them,” he exclaimed. “I am an ordinary British citizen who happens to do research on the current neocon wars which are going on in Syria at this very moment.”
With the latest Facebook and Twitter purges, ordinary citizens like Shilling are being targeted in the open, and without apology. The mass deletions of alternative media accounts illustrate how national security hardliners from the German Marshall Fund and Atlantic Council (and whoever was behind PropOrNot) have instrumentalized the manufactured panic around Russian interference to generate public support for a wider campaign of media censorship.
In his conversation in Berlin with Sprague, Fly noted with apparent approval that, “Trump is now pointing to Chinese interference in the 2018 election.” As the mantra of foreign interference expands to a new adversarial power, the clampdown on voices of dissent in online media is almost certain to intensify.
Society should not do the wrong thing for the right reason, even though it frequently does the right thing for the wrong reason.
History has shown us what happens when you try to make society too civilized, or do too good a job of eliminating undesirable elements. It also shows the tragic fallacy in the belief that the destruction of democratic institutions will cause better ones to arise in their place.
An obscure Texas political consultant named Bill Miller once said “politics is show business for ugly people”. It’s true for the most part, aside from the consequences. This is because the theatrics of politicians result in policies that affect the lives of others; often against the will of the governed. In books and movies, however, the characters are much ado about nothing. Until, that is, life imitates art.
So it is with the futuristic dystopian story of “A Clockwork Orange”. Both the book, by the author Anthony Burgess, and the film by director Stanley Kubrick, serve as moral dilemmas and cautionary tales plumbing such considerations as free will, the duality of mankind, societal anarchy, and the ascendancy of an all-powerful state.
A 1973 review written in Sight and Sound Magazine, stated: “Kubrick has appropriated theme, character, narrative and dialogue from Anthony Burgess’ novel, but the film is more than a literal translation of a construct of language into dramatic-visual form”. Therefore, for that reason, and for others described later, the film will remain this article’s primary focus.
As any perfunctory internet research will show, Stanley Kubrick is known as a visionary artist and director, but also as the subject of multiple conspiracies. In addition to A Clockwork Orange, Kubrick’s oeuvre includes avant-garde films such as Dr. Strangelove, The Shining, 2001 A Space Odyssey, and Eyes Wide Shut; to name a few. Just as these movies demonstrate the inner workings of mankind operating through the disparate threads which bind reality, so do some claim that a larger picture is presented as well. The big picture, of course, is said to include conspiratorial clues and undertones in Kubrick’s films ranging from Freemasonry, to America’s alleged faked moon landing, to an occultist global financial elite, and the terrorist attacks of 911 being planned as a world transformational event.
There exist multiple published writings, both online and in print, describing the secret meanings hidden in Kubrick’s movies. Furthermore, it has been argued that Kubrick’s “somewhat surreal films” appeal to the viewer’s subconscious and, therefore, “lend themselves to this sort of interpretation”.
That is another reason why Kubrick’s film will remain the focus of this essay, as opposed to the novel: Either these alleged conspiracies are imagined in the minds of the viewers, or Kubrick deliberately inserted these elements into his creations. Given Kubrick’s reputation for perfectionism, one can only conclude the symbolism was specifically placed and for exact reasons.
In his other films, like 2001 A Space Odyssey, it has been argued the strategic placement of the sun, or other circular lights, were utilized by Kubrick as symbolic movie projectors of sorts, whereby time and events unwind before the audience like a clock. Additionally, even in movies not directed by Kubrick, there are those who say mirrors are used to demonstrate mind control. It is a fact both of these visualizations are present in A Clockwork Orange.
Once again, and for all of the reasons delineated heretofore, the following presentation will analyze Kubrick’s film as opposed to the novel from which it derived. The story, and Kubrick’s alchemy, will then be analyzed through the lens of three separate realities followed by some concluding comments at the very end.
THE UNWINDING
In Kubrick’s A Clockwork Orange, the viewers witness the tragic life and circumstances of a teenager named Alex DeLarge navigating a decadent post-modern world. In the film, Alex is played by the actor Malcolm McDowell. The story unfolds against the backdrop of a futuristic dystopian society that has descended into anarchy and violence; especially within the younger generation.
The very first scene focuses on the evil-eyed Alex adorned with a black fedora and sunray eyeliner beneath his right eye. As the camera pulls back, the boy is shown with three of his young friends identified in the narrative as “droogs”. The youths are shown sitting in the Korova Milk Bar where they imbibe “Milk Plus”; or milk laced with recreational drugs of various types.
Upon leaving the bar, the boys come across a drunk lying in an alley and singing what Alex calls the songs of the drunk man’s “fathers”. This implies a line of separation between the previous time and the new; between the old and the young. This separation of time is actually confirmed when the drunk tells the young hooligans he no longer wants to live in this “stinking world” because there’s “no law and order anymore”, where the young “get onto the old”, and “it’s no world for an old man any longer”.
The boys commence to beat the old boozer senseless.
In the next scene, Alex and his droogs come across a group of five other boys who, on an abandoned theatrical stage, are attempting to rape a young woman. Seemingly, the stage implies the violence unfolding as melodrama, causing this viewer to question if the descent into societal violence was staged as well? The boys assaulting the woman were wearing military-style camo clothing and adorned with Nazi accoutrements. Alex taunted them in a near Shakespearean manner, and the rival gangs went to war. The battle also appeared as theatrically choreographed and was set in sync to Giaochino Rossini’s La Gazza Ladra overture.
In the next scene, we see Alex and his gang fleeing to the countryside in a red sports car, looking very much like four demons racing towards hell.
Chaos ensued until Alex eventually ended up in prison and, thus, in possession of the state.
In prison, Alex sat before an open Bible and fantasized he was a Roman soldier whipping the back of Jesus Christ. His voiceover narration said he didn’t like the New Testament’s “preachy talking” as much as the Old Testament’s violence and sex. He furthermore envisioned slicing open the throats of ancient enemies and later eating grapes fed to him by the naked wives and handmaidens of his vanquished foes.
In the privacy of the facility’s library, Alex petitioned the prison chaplain regarding a new treatment that could help him secure his freedom. The chaplain informed Alex the new treatment was called the Ludovico Technique and that it was dangerous. The boy then tells the priest that in spite of any potential danger, he wanted “for the rest of his life to be one act of goodness”.
In response, the chaplain tells Alex that “goodness is chosen” and “when a man cannot choose, he ceases to be a man”.
The next scenes showed a group of prisoners walking outside around a circle on the ground. Before the men are lined up for inspection, a cadre of dignitaries exit from a long hallway, and walk before the prisoners. In so doing, one man tells the others that, soon, the “prisons will be full of political prisoners” and that the “petty criminals need faster reconditioning”. Standing in line, Alex speaks up and the man selects Alex from the group. The viewer later discovers the man was actually the new Minister of the Interior who was visiting the prison that day.
Soon, Alex is admitted into the Ludovico Treatment Center and begins his reconditioning. He is strapped to a chair with brackets forcing both of his eyes open so they can’t be closed. He then watches violent videos of which he greatly enjoys at first. When a man begins to bleed on screen, Alex’s bloodlust is quenched, and speaking in the Nadsat lingo (a combination of Cockney English and Russian), he says: “It’s funny how the colors of the real world only seem really real when you viddy them on a screen”.
After the first video, another film is shown where a woman in a red wig is being gang-raped. Due to the drugs being injected into Alex’s bloodstream, he begins to feel ill, but he can’t avert his gaze due to the brackets on his eyes. Even trying to move his eyes away, he says: “I still could not get out of the line of fire of this picture”.
In another scene, Alex views another session which consists of Nazis marching, paratroopers jumping, bombs falling, and all to the light and airy melody of Beethoven’s “Ninth Symphony, Fourth Movement”. When Alex realizes the soundtrack is Beethoven, he begins to scream pitifully, begging the doctors to stop the treatment; because he once enjoyed that music as a free man.
Certainly one of the most challenging and difficult social problems we face today is, how can the State maintain the necessary degree of control over society without becoming repressive, and how can it achieve this in the face of an increasingly impatient electorate who are beginning to regard legal and political solutions as too slow? The State sees the spectre looming ahead of terrorism and anarchy, and this increases the risk of its over-reaction and a reduction in our freedom. As with everything else in life, it is a matter of groping for the right balance, and a certain amount of luck.
His treatment complete, Alex is then presented to a group of onlookers as the Ministry of Interior addresses the audience. The man tells them his political party promised Law and Order and “to make the streets safe for ordinary peace-loving citizens“.
In a demonstration that ensues on a raised dais, or stage, in front of the group, Alex is verbally and physically bullied while remaining unable to fight back. As the bully exits the stage, an overhead spotlight, appearing very much like a film projector, or the sun, follows the man as he bows and waves to the audience.
Next, Alex was presented with a gorgeous, nicely tanned, platinum blonde who stands topless before him wearing only a pair of cotton panties. As Alex, on his knees, reaches upward to touch her breasts, he becomes sick once again. The blonde then exits the stage similar to the bully, waving and bowing in dramatic fashion.
As the minister touts the new and improved Alex, the boy’s old prison chaplain rises up to challenge him, claiming Alex had been deprived of choice, and that his “reformation is insincere” because his conditioning requires “self-interest merely to avoid pain”. The chaplain then says: “He ceases to be a wrongdoer, he ceases also to be a creature capable of moral choice”.
In response, the Minister exclaims: “We’re not concerned with motives, with the higher ethics; we are concerned only with cutting down on crime and with relieving the ghastly congestions within our prisons”. He then added:
“He will be your true Christian, ready to turn the other cheek. Ready to be crucified rather than crucify. Sick to the very heart at the thought of even killing a fly. Reclamation. Joy before the angels of God! The point is that it works!”
The State had set Alex free. Literally. More chaos ensued; but, this time, it is all directed against the boy. As Alex eventually returns to his old self, and the State even apologizes for not knowing any better, it remains clear the government still views Alex as a political pawn to be played in its next theatrical production.
The viewer is left with the impression of the cycle continuing; or merely more of the same as the sun rises and sets over the spinning world.
Alex is characterised not only by his actions against society, but in the actions of the State against Alex. The two are equated in the film, his charm reproduced in its durance, the principal difference – a perhaps considerable one – in the State’s coarsely institutional and indiscriminately committed immoralities that Alex can only practise on a restricted scale.
[A clockwork orange is] an organic entity, full of juice and sweetness and agreeable odor, being turned into an automaton.
– Burgess, Anthony. 1987 prefatory note to “A Clockwork Orange: A Play With Music”
…the attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this, I raise my swordpen–”
– Burgess, Anthony. The character F. Alexander, “A Clockwork Orange”, p. 25
Through the Lens of Psychology and Violence, Chemically Enhanced
When I was a young man at college more than three decades ago, I asked one of my friends what he thought of the film A Clockwork Orange. Now, this guy had a high IQ. When younger, he was identified as a gifted child who then became member of Mensa, and later the dean of the psychology department at a large American university. I’ve never forgotten his answer. He said: “The future is sex and violence”.
Obviously, both he and Kubrick were proven correct.
Over the past four decades, global academia has made ignorant the youth in Western Societies. Whereas emphasis was once placed on critical thinking, logic, classic literature, science, and math, today’s schools now prioritize identity politics while the youth, especially boys, fall through society’s cracks mesmerized by television, violent video games, and drugs; prescribed or otherwise.
In A Clockwork Orange, Alex and his gang of droogs demonstrated awareness and cleverness, but simultaneously lacked compassion and empathy in ways that were near reptilian. Moreover, Alex’s parents were goofy enablers; the mother in particular, who had purple hair and seemed blind to her son’s evil. They were, in fact, perfect representations of the modern real-world parents who go on television, after their child murders and maims, to say: “He seemed like such a nice boy. We never saw it coming”.
This has remained true since the Columbine shooters through the most current of events in even the bucolic U.S. Midwestern state of Iowa, where two separate girls were recently brutally assaulted and murdered in as many months. Both the killers of Mollie Tibbets and Celia Barquin Arozamena were young men in their early twenties. In the latter case, the murderer, Collin Daniel Richards, admitted he had “an urge to rape and kill a woman” and the meme for his Facebook cover page said: “Let’s go commit a murder”.
Obviously, we no longer live in a Norman Rockwell world. Even so, we can’t say we weren’t warned by Kubrick in A Clockwork Orange.
The famous psychologist, Sigmund Freud, presented the idea that humans operate by means of a trinity of cognitive processes as follows: The Id (instincts), Ego (reality) and Superego (morality). Freud furthermore speculated these three systems (i.e. tripartite) developed at different stages of life.
In the case of Alex in Kubrick’s film, he was representative of the Id, acting out of his desire for childish satisfaction. It is therefore possible the Ego in the film was represented by the modifying presence of the prison chaplain, and with the State acting as the Superego taming Alex’s Id by means of chemically conditioned censorshipof action.
The Id, Ego, and Superego could also be perceived as manifested in the body (impulse), mind/soul (cognitive) and spirit (conscious /law).
As both the film, A Clockwork Orange, and present reality indicate: When balance is lacking, chaos follows in the form of hell on earth. But, on the other hand, if proper balance can be restored, then both individuals and society are better off.
But what is the proper balance and who decides? The State? Or, is there another way to unify mankind into peace and harmony?
By definition, a human being is endowed with free will. He can use this to choose between good and evil. If he can only perform good or only perform evil, then he is a clockwork orange–meaning he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or (since this is increasingly replacing both) the Almighty State. It is as inhumane to be totally good as it is to be totally evil. The important thing is moral choice. Evil has to exist along with good, in order that moral choice may operate. Life is sustained by the grinding opposition of moral entities.
– Burgess, Anthony. 1986 introduction to “A Clockwork Orange”
I think this suggests the failure of culture to have any morally refining effect on society. Hitler loved good music and many top Nazis were cultured and sophisticated men but it didn’t do them, or anyone else, much good.
Through the Lens of the Occult, Sun Worship, and Ancient Knowledge
Again, a simple internet search of “Stanley Kubrick occult” will yield a number of online links and even a book on the topic entitled “Kubrick’s Code: An Examination of Illuminati & Occult Symbolism in Stanley Kubrick’s Films”. In A Clockwork Orange, specifically, there are those who contend “subliminals”are present therein, including references to MK Ultra/mind control, Freemasonry, Sun/Solar worship, Templar/Iron Cross, Black Sun, the Eye of Horus, and more.
Having personally seen the movie, and recently, I will say these elements are definitely incorporated into the film. I was intrigued by the “Clockwork Orange as Sun” angle but, upon viewing the movie again, it appeared to me the solar aspect was presented (similar to Kubrick’s other films) as more of a film projector of sorts; whereby the viewers could nearly perceive themselves as projections in the screen, along with the fictional characters, as the story unwound.
A Clockwork Orange. Mechanical. Circles. Time.
It is also said the sun can affect people’s moods; as does film.
In the earliest written creation epic, the “Enuma Elish”, claimed by some scholars to have influenced the Bible’s Book of Genesis, Marduk is the Babylonian god who defeats the female water god, Tiamat. Marduk is then awarded fifty other names. In Mesopotamia and Sumeria, Marduk is known as the sun gods Shamash and Anu (Utu), respectively. In Egypt he was worshipped as Ra.
In the scriptures of Judaism and Christianity, Marduk and Tiamat were first identified as the humans Nimrod (In Genesis, chapter 10, called “a mighty hunter before the Lord”) and his wife Semiramis (later known as the mythological Queen of Heaven).
There are those who say it was Nimrod who established the first state religion by unifying mankind and building a tower in the Tigris/Euphrates region of antiquity. However, after he incorporated, and then diversified, he went public:
Did it all start on the plains of Shinar after a great flood, when the malesun overcame femalewater?
In A Clockwork Orange, Alex and his droogs were certainly warlike and sought to ravage the females in their paths. Moreover, perhaps as another clue, one of the songs on the film’s soundtrack is titled “Overture to the Sun”.
In the scene previously described, when the rival gang was in the act of melodramatically wrestling a woman in order to rape her on a stage, it did appear Kubrick incorporated elements of the “Enuma Elish” into his film: namely the expanse of sky above and a winged sun god overlooking acts of sex and violence (Chaos) below.
Within the occult, there are those identifying the Sun as being a symbol of Lucifer the Light Bringer and with the accompanying “illuminating rays of knowledge”; all supposedly essential to the ancient sun worship cult called “The Illuminati”.
Furthermore, others have connected both Freemasonry and the Illuminati as having originated in ancient Egypt:
Popular history texts and encyclopedias generally paint the Illuminati as having its origins in 1776 Bavaria. However, the origins go back much further. The Illuminati are tied directly through masonry to the sun and Isis cults of ancient Egypt.
In truth, Kubrick’s A Clockwork Orange has more occult symbols than even a U.S. dollar bill; along with specific parallels to Freemasonry. All of these visuals, like the Eye of Horus right on the money, are hidden in plain sight:
The checkered pattern is found in Freemason lodges and is known as “Moses Pavement” which symbolizes the duality of man. Of course, the Eye of Horus, snakes, and phalluses, are all symbols of the occult as well.
Why would Kubrick have included these in A Clockwork Orange and, also, in his other films?
Coincidence? Art? Conspiracy?
Let the readers, and viewers, decide.
Additionally, as addressed before, Kubrick’s film does include some peculiar references to Christianity. Complementing Alex’s aforementioned prison fantasy of being a Roman soldier in the act of whipping Christ, there was an earlier scene in his room where he fondles his pet snake before the snake appeared to act as a phallus between the legs of a naked woman pictured on his wall. The buttocks of the woman looked to have been held up by the raised arms of four naked Jesus Christ figurines; complete with crowns of thorns. Then, as a rapturous Alex enjoyed the music of Beethoven in a near masturbatory manner, he envisioned himself a vampire and saw a woman in a white (wedding?) dress being hung by rope, along with fiery explosions and men being crushed by rocks.
These examples, along with the symbols of Alex’s pet snake and the Eye of Horus on his right sleeve and right eye, leave the viewer with the impression the boy’s worldview was nothing short of Luciferian.
Moreover, just as western holidays like Christmas (Sol) and Easter (Ishtar) have their originations in ancient sun worship and female pagan fertility deities, so too, it seems, does A Clockwork Orange. In another example, one of the droogs in the Korova Milk Bar, with sun/projector overhead, drew milk from the breasts of a replica nymph that he called “Lucy”.
Are all of these occult references designed to point the viewer’s attention towards Lucifer? Was Kubrick trying to warn his audience that the future for both individual and state belonged to Satan? Or, is it possible the director was actually advocating for such?
Through the Lens of the Established State, Modern Politics , Time, and the Circular Cycles of Man
There are those who have tied Donald Trump to Kubrick’s A Clockwork Orange:
And, paradoxically, it now appears the Satanists are even threatened by The Orange Jesus as they seek to convert the younger generation.
Founded in 2012, The Satanic Temple (not to be confused with the Church of Satan) is a non-theistic organization that has gained prominence since President Trump’s election. The group reported it gained “thousands of new members” after Trump won the presidential race.
…Since the election, The Satanic Temple has launched multiple campaigns aimed at challenging Christian influence in the political sphere. One example is their After School Satan Clubs.
Obviously those on the Political Left, and some in the middle, view Trump as similar to the right-wing, authoritarian (law and order) party in Kubrick’s film; who brainwashed naive dupes into supporting misguided policies. Yet, to the other half of the audience watching the political theater on their screens, it appears that Trump is more comparable to Alex; who, after creating carnage in the proverbial political swamp, is now undergoing reeducation by the Established State right before their very eyes.
Could Kubrick have foreseen the inevitability of time’s passage delivering an Orange Reality TV Star to the world stage? It’s doubtful, because he didn’t write the book. Even so, is it still possible that Trump is a clockwork man, arriving right on schedule?
Since the times of the first songs, the elite have cynically oppressed the proles while telling them it’s for their own good; for their safety, or for the good of Mankind overall. That is the commonality of gangsters, thugs, neocons, corrupt politicians, fascists, and tyrannical collectivists. They abrogate timeless moral principles for their own benefit and tell us it’s for ours.
In the narrative of A Clockwork Orange, there is a contrarian to the current government, an author, who played dual roles in the film’s plot. Towards the end, he argues on the telephone with an unseen coconspirator that “the common people must not sell liberty for a quieter life”.
Yet, isn’t that what we’ve done today in the once free nations of the western world?
In many ways, A Clockwork Orange is a mirrored representation of modern America. In the movie, a right-wing party is the established power suppressing the rights of commoners in order to sustain its continuity of control; and the media, and opposition party, were fighting on the side of liberty.
Paradoxically, in the real world currently, the media, the Political Left, and lukewarm conservatives, are in singularity with the Established State; as Trump and his Deplorables wreak havoc before the global towers of power.
Based upon raw intuition, instinct, and Tweets, Trump is the political manifestation of Freud’s Id. Therefore, he and his gang of supporters must be reformed via electronic programming and conditioning (punishment and reward) by the state as it seeks to secure its everlasting continuity.
Play ball and society will experience harmony, but only on the state’s terms. Disobey at your own peril. This is one of the themes in A Clockwork Orange. Other undertones of the film speak to secrecy, smoke, mirrors, and mind control, where the state vanquishes the violent urges of its citizens by creating a new reality via cyclical, or looped, feedback. Consensus will be manufactured and contrarian views need not apply. Not acceptable? No problem. The state has a pill for that.
As humans, we have free will, and that is a right that cannot be denied to us. The Ludovico Technique represents the government’s, or any authority figure’s, interference with our personal liberties, and the dangers of these interferences. The battle of good versus evil is presented an innumerable amount of times in literature and cinema–but A Clockwork Orange puts a twist on this common theme. Which is worse, chosen evil or forced good? According to A Clockwork Orange, chosen evil is the lesser evil, because it demonstrates it allows us a choice. If humans lose moral choice, they become machines. Free will to choose between good and evil is the central theme and message in A Clockwork Orange.
Whether or not Trump is real or just an actor, like in Kubrick’s films, he has revealed certainrealities. The fact remains the state does not now endorse free will and it has, instead, resorted to electronic conditioning to form its new reality.
This will work until it doesn’t. Then the process begins again, just has it always has throughout history; as predictable as seasons, or the sun crossing the sky.
Conclusion
In researching this article, and Stanley Kubrick’s life’s work, I discovered many websites that were a strange combination of profoundly perceptive insights, unique observations, and batshit craziness. But one interesting theme presented in Kubrick’s storytelling is the idea of mankind’s Odyssey: Seeking meaning through faith, action, and fortune, upon the world stage; overcoming base instincts, then rising on a tide of reason and rationality, before the cycle rounds another bend and mankind falls again.
When watching A Clockwork Orange, the viewer is forced to consider the ironies of individual and state. In turn, this blogger now questions if both entities are not merely two parallel paths to hell on earth.
The sun rises and sets on individuals and nations alike. Yet, throughout history, Man’s Id was successfully moderated at times by his Ego and Superego thus allowing, for the most part, periods of equilibrium and justice; even if only for a season.
Fate or free will? That is the question. Given the cycles of history, where does hope now reside? Why would anyone have optimism at all?
In A Clockwork Orange, the Ludovico Technique was meant to fix dystopia’s problems. Today, in the real world, it is media narratives that are meant to address what ails us. Unfortunately, however, these are twin movies unspooling separately and all at once. In turn, it means certain worldviews must be reprogrammed, as it were.
This explains why social media companies are purging “incorrect thinkers” on their respective platforms. They are viewed as subversive moles, and petty criminals, damaging the fertile ground of the new world order.
It’s also why a bogus Russian dossier was utilized to derail the Orange Criminal. One wonders if he was wound up as part of a plan to place asunder the old ways; like the tide rolling out before the dawn of a new day.
The lesson learned from A Clockwork Orange is to beware the algorithmic hammers of conformity; always watching, ever ready, and waiting to shine down from on high; ceaselessly smiling, shaking hands, and kissing babies on the way.
Before new experiments and orthodoxies can be tried, there must be good reasons to do so. For out of chaos comes creation. The circle runs like clockwork and always on time.
The Id of Man will be tempered by a new religion; or perhaps an old one by another name.
After the Crash 
