Edutainment, part 3: The Music and the Mimic

by Arthur Thief

WE CAN SEE the depths to which Jewish propagandists will descend even in children’s entertainment. The overt Semitic sensibilities of the Lemony Snicket series would likely yield volumes in analysis; but today we speak of more subtle propaganda. For this, consider a scene in the Netflix adaptation of the series starring Nathan Fillion, Patrick Warburton, the homosexual traitor Neal Patrick Harris, and an endless parade of uninspiring Jewish actors.

In the “Austere Academy” arc of the show, the villain portrayed by Harris is giving an outdoor speech while a distinctly Jewish librarian character half-listens skeptically and simultaneously reads a book prominently titled The Weimar Republic. Again, nothing on any film set is present by accident; the director did not tell the actress “just find some book to read and bring that, your character’s a librarian.” As with any prop, it was provided by behind-the-scenes employees in the prop department. One of these people specifically chose that book, likely following direct orders or guidelines set by higher-ups. to be shown as the reading material selected by a character presented as kind, compassionate, empathetic, and a defender of innocent children. The leading search engine result for a book of that title (indeed, all other results include a subtitle) is the tome by historian Eberhard Kolb. That book presents the Weimar era in Germany as “a Jewish paradise” or, as one reviewer on GoodReads describes it, “an uncomfortable, anomic, hyper fluid, and modern, very creative time.” Kolb taught at the Hebrew University of Jerusalem, and was involved in “Holocaust memorial” projects at Bergen-Belsen, Buchenwald, and Neuengamme. In short, he is the very sort of author that, according to our Semitic overlords, the “good people” ought to read.

Another excellent example is provided here on National Vanguard by Andrew Hamilton in his essay, “The Saint and Isaac Babel.” The main character in the Cold War-era detective show, The Saint is shown reading a book by Isaac Babel, a Jewish communist who inspired Ihlya Ehrenburg. Hamilton rightly questions how anyone could be so naïve as to believe the reading selection was accidental.

In short, for decades now, Whites have been subjected to an endless battery of intentional visual propaganda, lowering our defenses and preparing us for the more blatant anti-White media assaults of today.

Chords: Musical Manipulation of Emotion

The popular space fantasy villain, Darth Vader, often appears on screen with the “bad guys” leitmotif, The Imperial March by John Williams, playing in the soundtrack. This tune in G minor at 103 beats per minute is one of the most widely-recognized pieces of music in film history. Consider how comically over-the-top and cartoonish the character would have seemed were he instead to have been introduced by Boots Randolph’s Yakety Sax in G major at 116 beats per minute. Vader’s entire menacing aura can be attributed as much to his musical cue as to British bodybuilder David Prowse’s physical presence or John Mollo’s costume design.

Key strongly affects mood and feeling. The pop-rock song High Hopes by the group Panic! at the Disco, would sound positively disconcerting in D# minor, and the changed musical tone would change the entire meaning of the song.

The science of using chords to evince specific emotions in the listener has been known for a long time; film directors have been employing it since the dawn of cinema, even before the “talkies,” when scored live organ music was used in theatres. In fact, our emotions being stirred by “background” music is a ubiquitous part of life unless you’ve retreated to the hinterlands and are living as an austere hermit. Even the knowledge we’re being manipulated cannot fully inoculate us against its effects. Whatever the evolutionary origin of this trait, our ability to be manipulated emotionally by music is buried deep in the mammalian genetic code — any pet owner can vouch for this.

Just as with imagery, even the ability to discern hero from villain is as much a function of background music as it is screen time or character development. Indeed, many of our Jew-crafted “heroes” would be positively revolting were our emotions not musically manipulated. Consider the murderous, amoral, drunken antics of James Bond; if his G major theme (which evokes a sense of idyll with a serious overtone) were rewritten in the despairing C# minor (e.g., Coldplay’s Clocks), we might expect his death from an alcoholic binge or suicide at any moment. At best we’d consider him pathetic, though we’d need a great deal of patience not to see him then as a villain for his behavior.

Music is used most effectively to villainize what would otherwise be perfectly reasonable statements by the “bad guy” — and these are often (not coincidentally) the kind of statements a White racial-nationalist or traditionalist might make. The still-running cinematic boondoggle of the “Marvel cinematic universe” which began with 2008’s Iron Man provides an endless stream of examples of this kind of musical trickery. Characters set up as villains will say things which might very well be found in a National Vanguard article or White Biocentrism post — while looking vaguely menacing as we hear an A♭ minor in the “background.” Suddenly, commonsense observations of easily confirmed reality become a plan for world domination or the monologue of an “evil genius.”

Likewise, when the hero’s “rousing speech” is nothing more than a fluffy tip-toe through the tulips of Jewish fantasy land, “bravely” praising “equality” or “diversity” or “civil rights,” great swells of epic C major anthems will roll in the background, providing a sense of satisfaction, optimistic anticipation, and a great, grand fight for “justice.”

While no amount of awareness can fully inoculate you from such emotional manipulation, it can help you resist. When the mixed-race couple on screen breaks up, know that the tragic feeling that just welled up inside you isn’t a real feeling for the characters, it’s just the carefully crafted music tugging at your heartstrings. Knowing your emotions have been triggered intentionally can help you reevaluate the scene from a more objective vantage point.

Unfortunately, by the time most people reach the level of maturity required to do this, they have already been subjected to a lifetime of such manipulations, and will have no interest. Even if prompted, the average consumer would already consider the villain’s message “evil,” not because it is, but because his perception has already been twisted to the point that he has lost the ability to rationally question what is so “obvious.”

Scoff enough at a friend’s falling for it, and he may yet come to realize he only feels one of the characters on screen is “good” and the other “bad” because one gets the “dark and scary” music and another gets the rousing, brassy anthem.

Trigger the Mimic: Facial Expressions as Emotional Manipulation

It is a well-documented facet of human psychology that we tend to take emotional cues from the crowd. As with the cues provoked by music or image framing, these can be overridden by conscious evaluation of the scene and characters; however, for many, the subtle emotional messages from the virtual group on the screen are well-nigh irresistible. Even without Jewish subversion, such cue-and-response mirroring begins forming at birth, when we begin taking cues from the first adults we see, feel, and hear.

So it is critically important for us to understand how fictional characters, news reporters, teachers and professors, peers, strangers on the street, advertising images, and indeed literally every picture of a human or even vaguely anthropomorphic face or body language can trigger an emotional response. This is a devastating weapon of propaganda.

The expressions of such fictional characters, and even news anchors, are carefully contrived and controlled in order to communicate the “proper” emotional response to any value expressed upon screen or on stage, in order to ensure that those values are proscribed or prescribed to the viewer through the crowd-following behavior inherent in the human psyche.

A “racist” or “anti-Semite” in a scene, for example, will be accompanied by body language and facial expressions signifying disapproval, disgust, rejection, deep concern, and fully justified hate from the “good” and “noble” characters, the characters with whom the viewer has been made to identify.

This can only be countered by rational reexamination of one’s emotional response. This requires intent: The viewer must want to reevaluate the implanted response and implied value. This in turn requires that the viewer already be predisposed to do so, or he must receive some external stimulus which convinces him to do so. This seldom happens, as the Jews well know.

The result of all of these manipulations will be a propagandized person believing the values he’s absorbed are really his own, and are natural, good, just, and universal. He will tend to reject even the strongest of arguments which go against his programming, seeing them as irrational, immoral, and evil.

To be continued.

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