Af Lone Nørgaard.
En følger har tilsendt dette link Engineering Reality: A Century Of Cultural Control, Part II – Capturing The Counterculture med ordene: ”En interessant artikelserie med links til forskellige musikhistorikere etc., der kortlægger hvorledes mange og måske de fleste kulturelle bølger er skabt af sociale ingeniører.”
NewSpeek har valgt at give tekstsamlingen et selvstændigt opslag. Del I Engineering Reality: Part I kan læses her.
Artiklerne ligger i forlængelse af mandagens indlæg om bl.a. hjernevask / indoktrinering / tankekontrol som bud på en forklaring på troen på Trump som frelser og sump-dræner.
Hold fest, hvor er vi bare blevet trukket rundt ved næsen i årevis, og uden det forhåbentligt lyder for offeragtigt, er det godt nok en svær kamel at sluge, at artikel-trilogien ikke bare slagter en hellig ko eller to – jeg var faktisk klar over det med The Beatles – men en hel kostald.
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ET ÅRHUNDREDE MED KULTUREL KONTROL FRA EDSIONS MONOPOLER TIL ALGORITME-MANIPULULATION
Authored by Joshua Stylman via substack,
A Century of Cultural Control From Edison’s Monopolies to Algorithmic Manipulation
Author’s Note: For years, I understood advertising was designed to manipulate behavior. As someone who studied the mechanics of marketing, I considered myself an educated consumer who could navigate rational market choices. What I didn’t grasp was how this same psychological architecture shaped every aspect of our cultural landscape. This investigation began as curiosity about the music industry’s ties to intelligence agencies. It evolved into a comprehensive examination of how power structures systematically mold public consciousness.
What I discovered showed me that even my most cynical assumptions about manufactured culture barely scratched the surface. This revelation has fundamentally altered not just my worldview, but my relationships with those who either cannot or choose not to examine these mechanisms of control. This piece aims to make visible what many sense but cannot fully articulate – to help others see these hidden systems of influence. Because recognizing manipulation is the first step toward resisting it.
This investigation unfolds in three parts: First, we’ll examine the foundational systems of control established in the early 20th century. Next, we’ll explore how these methods evolved through popular culture and counterculture movements. Finally, we’ll see how these techniques have been automated and perfected through digital systems.
Resten af Del 2 kan læses her.
CITATMOSAIK
For de travle har jeg klippet en række saftige kødlunser:
“Part One: Laying the Foundation
When Thomas Edison established the Motion Picture Patents Company in 1908, he created more than a monopoly – he demonstrated how five key mechanisms could systematically control information and shape consciousness: infrastructure control (film production equipment), distribution control (theaters), legal framework (patents), financial pressure (blacklisting), and legitimacy definition (“authorized” vs “unauthorized” content).”
“Sculpting Consciousness of the Masses
While American industries were perfecting control of physical infrastructure and entertainment, British intelligence was developing something even more fundamental – methods to control consciousness itself.”
“This work evolved through the treatment of shell-shocked soldiers at the Tavistock Clinic (later the Tavistock Institute), where Dr. John Rawlings Rees and his colleagues discovered how psychological trauma could be used to reshape not just individual consciousness, but entire social systems.”
“Former MI6 intelligence officer John Coleman’s seminal work The Tavistock Institute of Human Relations provided an insider’s view of its operations. More recently, researchers like Daniel Estulin, Courtenay Turner and Jay Dyer have further examined its profound impact.
The Institute’s most refined achievement was transforming psychological theories into practical tools for cultural engineering, particularly through popular music and youth culture. By embedding their principles into seemingly spontaneous cultural trends, they created a template for social programming invisible to its subjects.”
“The Beatles and Rolling Stones weren’t just bands – as researcher Mike Williams has extensively documented in his analysis of the British Invasion, their emergence marked the beginning of a systematic and profound cultural transformation (…)
Williams’ research goes further, presenting compelling evidence that the Beatles were essentially the first modern ‘boy band’ – their image carefully crafted, their music largely written and performed by others. This revelation transforms our understanding of the British Invasion: what appeared to be an organic cultural phenomenon was in fact a meticulously orchestrated operation, with professional musicians and songwriters behind the scenes while the Beatles served as appealing frontmen for the massive social engineering project.
As a lifelong music fan and Beatles devotee, confronting this evidence initially felt like sacrilege (…)
Behind Mick Jagger’s rebellious persona lay an education at the London School of Economics, suggesting an insider with a deeper understanding of power systems at play. This assiduous development of image extended to the performers’ inner circle – notably Jagger’s girlfriend Marianne Faithfull, herself a successful singer and socialite, whose father was an MI6 officer who interrogated Heinrich Himmler and whose maternal grandfather had Habsburg Dynasty roots. The Stones’ finances were managed by Prince Rupert Loewenstein, a Bavarian aristocrat and private banker whose noble lineage and financial circles intersected with the Rothschild dynasty – another example of establishment figures behind seemingly anti-establishment movements.”
“The Laurel Canyon Laboratory
In the hills above Hollywood between 1965-1975, as journalist Dave McGowan first documented, an extraordinary phenomenon: the emergence of a new music scene centered in Laurel Canyon, where an improbable concentration of military and intelligence family connections converged to reshape American youth culture. This convergence was no accident – as anti-war sentiment grew strongest in academic circles, this military-intelligence nexus helped redirect potential resistance into a drug-saturated counterculture focused on ‘dropping out’ rather than organized opposition to the war.
The military/intelligence connections within Laurel Canyon were striking.
- Jim Morrison’s father commanded the fleet during the Gulf of Tonkin incident that launched the Vietnam War.
- Frank Zappa’s father was a chemical warfare specialist at Edgewood Arsenal, a key human experimentation research site [sic! – nu forstår jeg bedre, hvorfor Frank Zappa har leveret den ene perle efter den anden, der nailer globalisterne]
- David Crosby, scion of the Van Cortlandts and Van Rensselaers—American royalty—descended from a lineage of political power that included senators, Supreme Court justices, and Revolutionary generals.
- James Taylor, a descendant of Massachusetts Bay Colony settlers, grew up in a family shaped by academia and military service, including his father’s role in Operation Deep Freeze in Antarctica.
- Sharon Tate, daughter of Army intelligence officer Lt. Col. Paul Tate, moved through these circles before her death.
- Dennis Hopper, whose father was OSS, directed Easy Rider with Peter Fonda, packaging counterculture rebellion for mainstream consumption.”
“Manufacturing Gender
While music proved to be the perfect laboratory for testing mass consciousness control, these methods would soon extend far beyond entertainment. Nowhere was this more evident than in the deliberate reshaping of gender roles and family structures, with the goal of reshaping intimate aspects of human identity and relationships.
The strategic calibration of feminist narratives emerged as a particularly powerful example, with intelligence agencies actively shaping gender politics through media and organized activism. Gloria Steinem who acknowledged working with CIA-funded organizations like the Independent Research Service during the 1950s and 1960s exemplifies this intersection. Her Ms. Magazine, launched in 1972, merged feminist ideals with carefully curated messaging, while Steinem later admitted to participating in CIA-funded events aimed at influencing feminist movements during the Cold War.
Nicholas Rockefeller’s candid admission to his friend Aaron Russo underscored how women’s liberation was strategically funded to expand state and corporate control—doubling the tax base through workforce participation, weakening family bonds through increased divorce rates, and increasing state influence over children via state-run childcare.”
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Det spørgsmål, jeg sidder tilbage med: Er der overhovedet nogen entertainer / sanger / musiker / skuespiller / studievært etc., der er nået til tops uden af have solgt sin sjæl?