Category Archives: JON RAPPOPORT

Elite television news rescued by COVID

Jon Rappoport
THE GREAT AND TRUTHFUL, Jon Rappoport

 

AP Photo/Alex Brandon
LYING BASTARD, FAUCI:AP Photo/Alex Brandon

 

 

Adolph Hitler - "Gestures: Poses of a dangerous populist fantasist." - https://www.hist-chron.com/eu/3R/propaganda-2wk-ENGL.html
LYING BASTARD, Adolph Hitler – “Gestures: Poses of a dangerous populist fantasist.” – https://www.hist-chron.com/eu/3R/propaganda-2wk-ENGL.html

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Elite television news rescued by COVID
(To read about Jon’s mega-collection, The Matrix Revealed, click here.)
Yet another consequence of the fake pandemic is the propping up of that doddering old fool, elite television news.

The COVID story doesn’t need Walter Cronkite.  It only needs wall to wall.  From 5AM to midnight, pandemic updates (mixed now with riot coverage), and the network ratings get well.  The ratings jump out of the dumpster and rumble on the studio set and do cartwheels.

I’ve written a number of articles about network television news.  Here are excerpts—

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Excerpt:

NEWS ABOUT THE NEWS.

The elite anchor is not a person filled with passion or curiosity. Therefore, the audience doesn’t have to be passionate or filled with curiosity, either.

The anchor is not a demanding voice on the air; therefore, the audience doesn’t have to be demanding.

The anchor isn’t hell-bent on uncovering the truth. For this he substitutes a false dignity. Therefore, the audience can surrender its need to wrestle with the truth and replace that with a false dignity of its own.

The anchor takes propriety to an extreme: it’s unmannerly to look below the surface of things. Therefore, the audience adopts those manners.

On air, the anchor is neutral, a castratus, a eunuch.

This is a time-honored ancient tradition. The eunuch, by his diminished condition, has the trust of the ruler. He guards the emperor’s inner sanctum. He acts as a buffer between his master and the people. He applies the royal seal to official documents.

Essentially, the television anchor is saying, “See, I’m ascetic in the service of truth. Why would I hamstring myself this way unless my mission is sincere objectivity?”

All expressed shades of emotion occur and are managed within that persona of the dependable court eunuch. The anchor who can move the closest to the line of being human without actually arriving there is the champion. In recent times, it was Brian Williams—until his “conflations” and “misremembrances” surfaced, and he was exiled to the wasteland of MSNBC.

The vibrating string between eunuch and human is the frequency that makes an anchor “great.” Think Cronkite, Chet Huntley, Edward R Murrow. Huntley was just a touch too masculine, so they teamed him up with David Brinkley, a medium-boiled egg. Brinkley supplied twinkles of comic relief.

The cable news networks don’t have anyone who qualifies as an elite anchor. Wolf Blitzer of CNN made his bones during the first Iraq war only because his name fit the bombing action so well. Brit Hume of FOX has more anchor authority than anyone now working in network television, but he’s semi-retired, content to play the role of contributor, because he knows the news is a scam on wheels.

There are other reasons for “voice-neutrality” of the anchor. Neutrality conveys a sense of science. “We did the experiment in the lab and this is how it turned out.”

Neutrality implies: we, the news division, don’t have to make money (a lie); we’re not like the cop shows; we’re on a higher plane; we’re performing a public service; we’re a responsible charity.

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From the early days of television, there has been a parade of anchors/actors with know-how—intonation, edge of authority, parental feel, the ability to execute seamless blends from one piece of deception to the next:

John Daly, Douglas Edwards, Ed Murrow, Chet Huntley, David Brinkley, Harry Reasoner, Walter Cronkite, Dan Rather, and more recently, second-stringers—Brian Williams, Diane Sawyer, Scott Pelley.

They’re all gone.

Now we have Lester Holt, David Muir, and the newly appointed Norah O’Donnell.  They couldn’t sell water in the desert.

Lester Holt is a cadaverous presence on-air, whose major journalistic achievement thus far is interrupting Donald Trump 41 times during a presidential debate; David Muir has the gravitas of a Sears underwear model; Norah O’Donnell, long-term, will have the energy needed to illuminate a miniature Xmas-tree light bulb.

The networks have no authoritative anchor-fathers waiting in the wings.  They don’t breed them and bring them up through the minor leagues anymore.

Instead, armies of little Globalists, and ideologues who don’t realize they’re working for Globalists, have been infiltrating the news business.  At best, they’re incompetent.

Thus, news-production techniques that enable an ongoing illusion of oceanic authority collapse like magnetic fields that have been suddenly switched off.

The selective mood lighting, the restful blue colors on the set, the inter-cutting of graphics and B-roll footage, the flawless shifts to reporters in far-flung places…it’s as if all these supporting features have suddenly been overcome by actors in a stage play who are abruptly stepping out of character.  The spell is broken.

Elite mainstream news, in a fatuous attempt to save itself, is trying a democratic approach.  Anchors are sharing more on-air minutes with gaggles of other reporters.  But this is counter-productive in the extreme.  The News has always meant one face and one authority and one voice and one tying-together of all broadcast elements.  It’s as if, in a hypnotherapist’s office, the therapist decides to bring in colleagues to help render the patient into an alpha-state.

If by some miracle, the news bosses could raise Walter Cronkite, “the father of our country,” from the dead and put him back in the chair… but too many years have gone by; years of unaccomplished anchors.  The horse is out of the barn, the cat is out of the bag.

This is why major news outlets have been appealing to social media/big tech for help, AKA censorship of independent voices.

One veteran news director told me several years ago, “We don’t have the stars [elite anchors] anymore.  The star system is dead.  You could comb all the local news outlets in America, and you wouldn’t find one face and voice who could really carry the freight.  They’ve vanished.  The up and coming people are lame.  We’ve made them that way.  It’s some cockeyed standard of equality we’ve internalized.  And now we’re paying the price.”

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The news is all about manipulating the context of stories.  The thinner the context, the thinner the mind must become to accept it.

Imagine a rectangular solid.  The news covers the top surface.  Therefore, the viewer’s mind is trained to work in only two dimensions.  Then it can’t fathom depth, and it certainly can’t appreciate the fact that the whole rectangular solid moves through time, the fourth dimension.

First, we have the studio image itself, the colors in foreground and background, the blend of restful and charged hues.  The anchor and his/her smooth style.

Then we have the shifting of venue from the studio to reporters in the field, demonstrating the reach of coverage: the planet.  As if this equals authenticity.

Actually, those reporters in the field rarely dig up information on location.  A correspondent standing on a rooftop in Cairo could just as easily be positioned in a bathroom in a Las Vegas McDonald’s.  His report would be identical.

The managing editor, usually the elite news anchor, chooses the stories to cover and has the final word on their sequence.

The anchor goes on the air: “Our top story tonight, more signs of gridlock today on Capitol Hill, as legislators walked out of a session on federal budget negotiations…”

The viewer fills in the context for the story: “Oh yes, the government.  Gridlock is bad.  Just like traffic on the I-5.  We want the government to get something done, but they won’t.”

The anchor: “The Chinese government reports the new flu epidemic has spread to three provinces.  Forty-two people have already died, and nearly a hundred are hospitalized…”

The viewer again supplies context, such as: “Flu.  Dangerous.  Epidemic.  Get my flu shot.”

The anchor: “A new university study states that gun owners often stock up on weapons and ammunition…”

The viewer: “People with guns.  Why do they need a dozen weapons?  I don’t need a gun.  The police have guns.  Could I kill somebody if he broke into the house?”

The anchor: “Doctors at Yale University have made a discovery that could lead to new treatments in the battle against autism…”

Viewer: “Good.  More research.  Laboratory.  The brain.”

If, at the end of the newscast, the viewer bothered to review the stories and his own reactions to them, he would realize he’d learned nothing.  But reflection is not the game.

In fact, the flow of the news stories has washed over him and created very little except a sense of (false) continuity.

Therefore, every story on the news broadcast achieves the goal of keeping the context thin—night after night, year after year.  The overall effect of this staging is: small viewer’s mind, small viewer’s understanding.

Next we come to words and pictures.  More and more, news broadcasts are using the rudimentary film technique of a voice narrating what the viewer is seeing on the screen.

People are shouting and running and falling in a street.  The anchor or a field reporter says: “The country is in turmoil.  Parliament has suspended sessions for the third day in a row, as the government decides what to do about uprisings aimed at forcing democratic elections…”

Well, the voice must be right, because we’re seeing the pictures.   If the voice said the riots were due to garbage-pickup cancellations, the viewer would believe that, too.

We see Building #7 of the WTC collapse.  Must have been the result of a fire.  The anchor tells us so.  Words give meaning to pictures.

Staged news.

Since the dawn of time, untold billions of people have been urging a “television anchor” to “explain the pictures.”

The news gives them that precise solution, every night.

“Well, Mr. Jones,” the doctor says, as he pins X-rays to a screen in his office.  “See this?  Right here?  We’ll need to start chemo immediately, and then we may have to remove most of your brain, and as a follow-up, take out one eye.”

Sure, why not?  The patient saw the pictures and the anchor explained them.

Eventually, people get the idea and do it for themselves.  They see things, they invent one-liners to explain them.

They’re their own anchors.  They short-cut and undermine their own experience with vapid summaries of what it all means.

For “intelligent” viewers, there is a sober mainstream choice in America, a safety valve: PBS.  That newscast tends to show more pictures from foreign lands.

“Yes, I watch PBS because they understand the planet is interconnected.  It isn’t just about America.  That’s good.”

Sure it’s good, if you want the same thin-context or false-context reports on events in other countries.  Instead of the two minutes NBC might give you about momentous happenings in Syria, PBS will give you four minutes.

PBS experts seem kinder and gentler.  “They’re nice and they’re more relaxed.  I like that.”

Yes, the PBS experts are taking Valium, and they’re not drinking as much coffee as the CBS experts.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Excerpt:

When network television news was created in the late 1940s, no one in charge knew how to do it.  It was a new creature.

Sponsors?  Yes.  A studio with a desk and an anchor?  Yes.  A list of top stories?  Yes.  Important information for the public?  Yes.

Of course, “important information” could have several definitions—and the CIA already had a few claws into news, so there would be boundaries and fake stories within those boundaries.

The producers knew the anchor was the main event; his voice, his manner, his face.  He was the actor in a one-man show.  But what should he project to the audience at home?

The first few anchors were dry sandpaper.  John Cameron Swayze at NBC, and Douglas Edwards at CBS.  But Swayze, also a quiz show host, broke out of the mold and imparted a bit of “cheery” to his broadcasts.  A no-no.  So he was eventually dumped.

In came a duo.  Chet Huntley and David Brinkley.  NBC co-anchors from 1956 to 1970.  Chet was the heavy, with a somber baritone, and David was “twinkly,” as he was called by network insiders.  He lightened the mood with a touch of sarcasm and an occasional grin.  It worked.  Ratings climbed.  Television news as show biz started to take off.  At the end of every broadcast, there was: “Good night, Chet.”  “Good night, David.” The audience ate it up.  They loved that tag.

However, rival CBS wasn’t standing still.  They offloaded their anchor, Douglas Edwards, a bland egg, and brought in Walter Cronkite, who would go on to do 19 years in the chair (1962-1981).  Walter was Chet Huntley with a difference.  As he grew older, he emerged as a father, a favorite uncle, with an authoritative hills-and-valleys baritone that created instant trust.  Magic.  A news god was born.

Despite many efforts at the three major networks, no anchor over the past 40 years has been able to pull off the full Cronkite effect.

The closest recent competitor—until he was fired for lying and exiled to the waste dump at MSNBC—was Brian Williams.  Williams artfully executed a reversal of tradition.  He portrayed the youthful prodigy, a gradually maturing version of a newsboy who once bicycled along country roads, threw folded up papers on front porches, and knew all his customers by name.  A good boy.  A local boy.  Your neighbor under the maple trees of an idyllic town.  Cue the memories.

By the time Williams took over the helm at NBC, television news was decidedly a team operation.  There were reporters in the field.  The technology enabled the anchor to go live to these bit players, who tried to exude the impression they were actually running down leads and interviewing key sources on the spot—when in fact they could just as easily be doing their stand-ups from a hot dog cart outside 30 Rockefeller Plaza, the home studio of the network—because most of their information was really coming from inside that studio.

Nevertheless, the team was everything.  The anchor was a manager, and his job was to impart an authentic feel to every look-in, from the White House to Paris to Berlin to Jerusalem to Beijing to a polar bear on an iceberg.

And local television news was blowing up to gargantuan proportions.  Every city and town and village and hamlet seemed to have its own gaggle of hearty faces delivering vital info of interest to the citizenry.  Branding and shaping this local phenomenon evolved into: FAMILY.  Yes, that was the ticket.  These bubbly, blown-dry, enthused, manic news and weather and sports hawks were really “part of the community.”  Local News was no longer shoveled high and deep with an air of objectivity.  “Aloof” was out.  Share and care was in.  What that had to do with actual news was anyone’s guess, but there it was.  “Hi, we’re your team at KX6, and we feel what you feel and we live here with you and we know when the roads are icy and the wrecks pile up on the I-15 and the cops arrest someone for cocaine possession and when the charity bake sale is coming up to pay for [toxic] meds for seniors and when your cousin Judy passes away we mourn as you do…”

News for and by a fictional collective.

Disney news.

A caricature of a simulacrum of an imitation.

The discovery was: the viewing audience wanted news as a cartoon.

The problem is: this model deteriorates.  The descending IQ of the news producers and anchors and reporters undergoes a grotesque revolution.  Year by year, broadcasts make less sense.  Even on the national scene, NBC hands its prime anchor spot to Lester Holt, who plays the old Addams Family living corpse, Lurch.

ABC, always looking for a new face, goes all in with David Muir, a Sears underwear-model type.

CBS counters with a youngish cipher, Jeff Glor, after ridding itself of Scott Pelley, who, true to his on-camera persona, might show up on The Young and the Restless as a lunatic surgeon doing operations without anesthetic.

The networks are losing it.

It’s a sight to behold.

Cable news is even worse.  The longest surviving anchor is Wolf Blitzer at CNN.  Wolf’s energy level tops out as a man in a tattered bathrobe, in his kitchen, chatting with his cousin while they play checkers.

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When professionals broadcast one absurdity after another, they begin to see the effects are actually strengthening their own position of authority.

It’s a revelation.  It’s also a continuation of the tradition of the Trickster archetype.  For example, with just a few minor adjustments, Brian Williams can be seen as the sly Reynard the Fox…

From the viewpoint of elite television news, controlling the minds of its audience depends on what’s politely called “cognitive dissonance”:

As the anchor recites a news story, the viewer sees an obvious hole through which he could drive a truck.

The story makes no sense, yet it’s being presented as bland fact.  The trusted anchor clearly has no problem with it.

What’s the viewer to do?  He experiences a contradiction, a “dissonance.”

For example, this year’s flu vaccine.  The US government has admitted the vaccine is geared to a flu virus that isn’t circulating in the population.  Therefore, even by conventional standards, the vaccine is useless.  But the kicker is, the CDC says people should take the vaccine anyway.

The anchor relays all this information—and never seriously questions the situation, never torpedoes the government for recommending the vaccine.

The average viewer feels a tug, a pulse of discomfort, a push-pull.  The vaccine story is idiocy (side one), but the trusted anchor accepts it (side two).

Dissonance.

The top chiefs of news—and top propaganda operatives—anticipate cognitive dissonance.  In a real sense, they want it to happen.  They make it happen.  Over and over.

Why?

Because it throws the viewer into a tailspin.  And in that mental state, in his effort to resolve the contradiction, he will normally choose to…give in.  Surrender.  Believe in the anchor.  It’s the easier path.

The viewer will even doubt his own perception.  “I see no good reason for Building 7 to collapse, but the news doesn’t bring that up, so…it must be me.”

This is the power of the news.  It presents absurdities and then moves right along, as if nothing has happened.

The introduction of contradiction, dissonance, and absurdity parading as ordinary reality is an intentional feature of brainwashing.

On the nightly news, the anchor reports that US government debt has risen by another three trillion dollars.  He then cuts to a statement from a Federal Reserve spokesman: the new debt level isn’t a problem; in fact, it’s sound monetary policy; it strengthens the economy.

The viewer, caught up in this absurdity, tries to make sense of it, then gives up and passively accepts it.  Brainwashing.

Smoothly transitioning from this story, the anchor relays information from the CDC: vaccination rates must achieve 90% in the population, in order to protect people from dangerous viruses.  The viewer thinks, “Well, my daughter is already vaccinated, so if she comes into contact with a child who isn’t vaccinated, why would there be a problem?  Why does 90% of the population have to be vaccinated to keep her safe?  She’s already vaccinated.”

The viewer wrestles with this craziness for a moment, then gives in and accepts what the CDC and the anchor are saying.  More passivity.  More brainwashing.

The anchor moves right along to the next story: “The US is experiencing one of the coldest winters in history, further evidence of the effects of global warming, according to scientists at the United Nations.”

The viewer shakes his head, tries to deal with this dissonance, surrenders, and accepts what he is hearing.  Deeper passivity is the result.  Deeper brainwashing.

On and on it goes, day after day, month after month, year after year, on the news.

Contradiction, absurdity, dissonance; acceptance, surrender, passivity.

The same general formula is used in interrogations and formal mind control.  It adds up to disorientation of the target.

Most disoriented people opt for the lowest- common-denominator solution: give in; accept the power of the person of authority.

Among the many supporters of conventional news is the education system.  Most teachers never learn logic, and they don’t teach it.  The result?  Their students never gain the ability or the courage to reject the news and its dissonances.

What little these students gain from 12 or 16 years of schooling they eventually sacrifice on the altar of consensus reality—as broadcast every night on the screen before them.

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Salvador Dali, surrealist, was one of the most reviled painters of the 20th century.

He disturbed Conventional Folk who just wanted to see an apple in a bowl on a table.

Dali’s apples and bowls were executed with a technical skill few artists could match—except the apples were coming out of a woman’s nose while she was ironing the back of a giraffe, who was on fire.

“It doesn’t go together!  It doesn’t make sense!  He’s Satan!”

Yet, these same Folk sit in front of the television screen every night and watch the entirely surreal network news.  Elite anchors seamlessly and quickly move from blood running in the streets of a distant land to a hairdryer product-recall to an unseasonal hail storm in Michigan to a debate about public policy on pedophiles to genetically engineered mosquitoes in Florida to a possible breakthrough in storing computer simulations of human brains for later recapture to squirrels gathering nuts in New Jersey.

Nothing surreal about this??

When the elite anchor goes on air and digs in, he’s paid to be seamless.  He could be transitioning from mass killings in East Asia to sub-standard air conditioners, and he makes the audience track through the absurd curve in the road.

The elite anchor should have a voice that soothes just a bit but brooks no resistance.  It’s authoritative but not demanding.

Scott Pelley (CBS) was careful to watch himself on this count, because his tendency was to shove the message down the viewer’s throat like a surgeon making an incision with an icepick.  Pelley was a high-IQ android who was training himself to be human.

Diane Sawyer wandered into sloppiness, like a housewife who’s still wearing her bathrobe at 4 in the afternoon.  She exuded sympathetic syrup, as if she’d had a few cocktails for lunch.  And she affected a pose of “caring too much.”

Brian Williams was head and shoulders above his two competitors.  You had to look and listen hard to spot a speck of confusion in his delivery.  He knew how to believe his act was real.  He could also flick a little aw-shucks apple-pie at the viewer.  Country boy who moved to the big city.

Segues, blends are absolutely vital.  These are the transitions between one story and another.  “Earlier today, in Boston.”  “Meanwhile, in New York, the police are reporting.”  “But on the Hill, the news was somewhat disappointing for supporters of the president.”

Doing excellent blends can earn an anchor millions of dollars.  The audience doesn’t wobble or falter or make distinctions between what went before and what’s coming now.  It’s all one script.  It’s one winding weirdness of story every night.

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And NOW, we have COVID, and we have riots.  The current stories— the lies are egregious and relentless, the editorializing is cheesy.  The omissions are Grand Canyons.

Surreal, cognitively dissonant, smoothly blended, outrageous:

The News Business.  As Usual.

But with the junior varsity anchors, and their lack of skill, the networks need overwhelming stories to sell their act.  They need COVID and riots.  They have to have government manufacturing chaos and destruction and tighter control, in order to keep viewers coming back night after night.

You’ve got elite Globalists and elite government on one edge, and elite news on the other edge.  They feed into each other.  They bolster each other.

So why must they spend so much time censoring dissent?

Because freedom exists.

Because, no matter what, it always will.

And underestimating its power, time and time again, has proven to be a colossal mistake.

Use this link to order Jon’s Matrix Collections.

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world.
You can find this article and more at NoMoreFakeNews.

Military nurse at COVID “New Yawk” epicenter hospital: “it’s murder”

Erin Marie Olszewski, Military Nurse
Erin Marie Olszewski, Military Nurse

Military nurse at COVID epicenter hospital: “it’s murder”

Where is Congresswoman Alexandria Ocasio-Cortez, whose District includes the hospital? Is this the shining example of social justice she wants—death by medicine?

by Jon Rappoport

June 12, 2020

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Her name is Erin Marie Olszewski. She’s a military nurse. She worked at the hospital that’s touted as being at the very center of the global pandemic, in terms of numbers of cases and deaths.

Her video is out there. Infowars has it among their banned videos. David Icke has it. Solari.com has it. The Brighteon platform has it. Others have it. It’s devastating testimony, first-hand, from Erin’s undercover investigation inside the Elmhust Hospital in Queens, New York, “the epicenter of the COVID epicenter.”

But this isn’t about the virus. It’s about murder at the hospital. That’s Erin’s assessment and conclusion, after working at Elmhurst.

I’ll boil down essentials of her findings:

At the hospital, poverty-stricken patients, mostly black and Latino, come in and are tested for COVID-19. When the conventional tests read negative—meaning no COVID—some of these people are nevertheless marked down as COVID-19 cases.

That puts them on a train to death.

For no good reason, they’re placed on breathing ventilators. They’re sedated, to keep them from moving around and feeling the discomfort and pain of the invasive intubation.

But these patients are HEAVILY sedated for long periods. As much as a MONTH.

Completely cut off from the outside world, they never wake up.

This is no mystery. Any medical professional, doctor or nurse, WOULD KNOW DEATH IS THE INEVITABLE OUTCOME. It’s a protocol for killing.

And of course, the patients’ deaths are marked down as “caused by the virus.”

I can think of at least 20 New York and federal agencies who should be swarming all over the Elmhurst Hospital. But there is no action of any kind from them.

Where is the famous Congresswoman from the 14th Congressional District, which includes the Elmhurst Hospital? I’m talking about Alexandria Ocasio-Cortez, the Democratic Socialist who wants a single payer health system for all Americans. Is THIS the kind of healthcare she’s talking about? Why isn’t she storming the hospital with reporters and cameras, demanding answers, brushing past guards, blasting into the office of hospital CEO Israel Rocha and demanding to know why patients are dying on ventilators?

Where is Bill De Blasio, the New York mayor? Where is Cuomo, the New York state governor? Nowhere. They’re too busy with the punishing lockdowns. Too busy destroying the New York economy. Too busy destroying the lives of millions of New Yorkers with their insane economic attack. Too busy playing up to their “liberal” voters, who are loyal to new zombie normal with their utterly useless masks.

Where are New York reporters? Why aren’t they camped out at the Elmhurst Hospital demanding answers and exposing capital crimes?

Where are public protests at the hospital? Inside those doors, many people CAN’T BREATHE anymore. But in this case, it has nothing to do with a cop who has his knee on the neck of a black man. It has to do with a standard of medical care that is pushing patients on the train to death. If local reporters and Congresswoman Ocasio-Cortez were doing their jobs, you would definitely see those protests, and the whole foul truth would come tumbling out for the world to know.

What about the doctors and nurses inside the Elmhurst Hospital? What do they have to say? Who set up the protocol of death? Why are these health professionals “just following orders?” Who is giving the orders? Labeling patients “COVID-19” brings more insurance money to the hospital. That’s obvious. But what about INDUCED DEATH? Is it just the result of cold indifference? At one point in the video, Erin says that, although she works with some good people, there are others, and apparently for them, patients are “disposable” human beings.

Surely, these Elmhurst doctors and nurses know about Erin’s video by now. Don’t they have anything to say? Wouldn’t you assume they’d be defending themselves? So far, I see and hear nothing from them. Are they under strict orders to keep their mouths shut? If so, why? If they aren’t committing horrendous crimes, why should they stay silent?

And don’t assume Elmhurst is the only hospital where death by medical murder is occurring. Don’t assume New York is the only city where it’s happening.

In a mainstream review I’ve often cited, annual deaths in the US caused by medical mistreatment and errors, in hospitals, is 119,000. And that doesn’t include deaths caused by the administration of FDA approved drugs. THAT number would be 106,000 per year. (Journal of the American Medical Association, July 26, 2000, Dr. Barbara Starfield, Johns Hopkins School of Public Health, “Is US Health Really the Best in the World?”)

Go ahead. Add up those figures. That’s 225,000 deaths a year at the hands of doctors. That’s 2.25 MILLION deaths in America, per decade, caused by doctors.

It’s time the American people started paying attention to the third (maybe the first) leading cause of death in their country: medical care.

Elmhurst Hospital in Queens New York is the epicenter of something. But it isn’t a virus.

Brushing medical hocus-pocus aside—let’s get down to the core of the death protocol. Who ordered it? Who started it? Who is enforcing it?


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Coronavirus: why it’s not like the other fake epidemics

Coronavirus: why it’s not like the other fake epidemics

Mar11

 Jon Rappoport

by Jon Rappoport

March 11, 2020

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As always, I suggest new readers go back and acquaint themselves with all my articles on the coronavirus situation (archive here). I can’t possible recapitulate the full scope of details, evidence, and analysis each time I write a piece.

In today’s episode of virus fakery and population mind control, I examine the one important difference between this phony epidemic and its predecessors—West Nile, SARS, MERS, Swine Flu, Ebola, Zika.

Size matters. That’s the difference.

By which I mean, the size of the lie.

In previous incarnations of “raging outbreaks,” the people controlling the operation (CDC, WHO, etc.) were content to let their propaganda fade out after a short time. And as quickly as the false threat was invented, it began to dissolve.

This time, however, the controllers feel sufficiently emboldened to pour fuel on the fire of the lie and build it into an illusion of conflagration.

That’s the long and the short of this story.

In all other respects, the 2020 “epidemic” is identical to the previous duds: farcical announcement of an outbreak; miraculously quick and dubious “discovery” of a virus; deployment of diagnostic tests that don’t work; deceptive inflation of case numbers; ludicrous claim of global spread; where actual illness is occurring, a cover-up of the true reasons, which have nothing to do with a virus.

But since the total tonnage of fear porn propaganda is much larger this time around, mass quarantines are possible. These quarantines, for the dim and uninformed, appear to prove (but don’t) that the virus is highly volatile and dangerous.

In turn, the quarantines, and an accompanying urge for “self-isolation,” torpedo trade and industries and markets.

The world population, one more time, is tuned up to accept any and all medical dictates.

To put it another way, the current coronavirus fantasy could have been floated with the half-hearted intensity of prior epidemic duds. However, for no other reason than the desire to tighten the screws of control, the choice was made to shove more counterfeit chips across the table this time.

For that purpose, China was an ideal starting point. The government wouldn’t hesitate to lock down 100 million citizens—thus ramping up the “seriousness of the matter” from the get-go—kicking off a worldwide dither. China was the model. As I predicted, other nations would pick up the cue and feel comfortable about following suit. A deranged Italian politician has now quarantined a quarter of the country’s population.

On the bright side, the controllers are overplaying their hand. How could they not, given their front men fatuously predicting 40 to 70 percent of the world population will become “infected,” and millions will die. When that doesn’t happen, a good many people will remember those bloated projections. The boy-who-cried-wolf factor will kick in, regardless of how many social media platforms try to erase the past through censorship.

Here is an informal list of current predictions, from various sources. I suggest you keep it, in order to remember what to remind doomsayers of, when the dust clears: containment won’t work; the virus will spread unchecked all over the globe; the rate of transmission of the virus and the death rate will escalate; the virus is actually a devastating bioweapon, against which the human immune system has no defense; the virus’ genetic makeup, containing elements of the deadliest virus ever discovered, HIV, will wreak unprecedented havoc. You can add other world-ending predictions as you find them.

Oh, there is one other difference between this phony epidemic and previous incarnations: the recent gigantic expansion of YouTube and other social media. And given the degree of censorship that now prevails on social media—particularly the lunatic prohibition against “treating tragedies as hoaxes”—billions of tidbits of epidemic fear porn have the upper hand.

It’s almost as if, once social media had their censors firmly in place, the green light, signaling “coast clear to launch the 2020 epidemic fairy tale,” flashed on.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealedclick here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALEDEXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his freeOutsideTheRealityMachine emails here.

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