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LIGHT ON THE MEDIA MAFIA Many of us are old enough to remember when the BBC was the only UK based broadcasting agency. In retrospect, and in spite of its patronising middle-class image, many programmes lived up to the commitment to ‘inform, educate and entertain’. Nowadays viewers and listeners have a widening choice of programmes from the private sector, and while the ‘entertainment’ content is for the most part abysmal, there are also enough informative and educational features to present the BBC with serious competition, naturally enough, therefore, with more and more people prepared to pay for access to TV channels and programmes of their own choosing, the validity of the compulsory BBC licence fee is increasingly challenged. Why should we be forced to pay an ever-increasing licence fee to the BBC when we may be spending at least as much if not more time watching free commercial productions? This could only be justified if most BBC programmes were seen to be qualitatively superior in meeting the universal remit to inform, educate and entertain. But that has become increasingly questionable, notwithstanding the usual defensive arguments about freedom from crass commercialism and covert pressure by big business and certain political factions; ‘He who pays the piper calls the tune’ and so forth. Since the entertainment element of TV and radio productions will always be a matter of personal taste and preference, it cannot be maintained that BBC productions in this genre are of a unique and mostly superior character. So there goes one leg of the Beeb’s three-legged stool. And the education ‘leg’ is likewise open to serious and respectable competition from the private sector so long as it avoids manifestly tendentious material. There remains only the information ’leg’ of the BBC’s raison d’etre. Here its news reportage and commentary on current affairs is commonly assumed to be above reproach and free from any undue influence by outside agencies with a political or business axe to grind. Alas that assumption has become increasingly fragile. In the perception of many shrewd observers the BBC is tending nowadays to reveal an all-pervading ethos of a distinctly ‘Guardianista’ character, affecting news and programme editing, the selection of participants and the balance of political and social debates. Who and what is excluded from BBC productions is alone sufficient to discredit much of its reportage and commentary on controversial issues such as the European Union, immigration, ‘Holocaust’ allegations, homosexuality, abortion, and feminism. Most if not all productions, are as it were, ‘pasteurised’ with political correctness on such issues , while smugly defended as reflecting the moderate opinion of decent chappies like themselves. Recently, however, well-informed insiders have spilled the beans that immigrants, homosexuals, feminists and ‘Guardianistas’ are grossly over-represented in the BBC hierarchy. Added to these exposures, the Internet has now given everybody direct access to news sources, thus enabling them to detect significant ‘filtration’ and ‘spin’ in the BBC reportage. So the media mafia are now finding themselves in much the same predicament as the old fraudster suddenly exposed manipulating a bogus ‘Wizard of Oz’ from behind a screen. This ever-widening awareness, that what appears in BBC (as well as commercial) broadcasts is subjected to politically correct filtration and the programmers’ left-liberal bias, further undermines the licence fee. We are supposed to believe that so-called ‘feedback’ and ‘Question Time’ programmes give viewers and listeners ample opportunity to participate in public debates and challenge broadcast material. Alas the content, conduct and participants in these programmes have become as boringly predictable as the rest of the politically -correct circus. The same old media luvvies with the same old laundered opinions on anything deemed at all controversial, with mostly inarticulate and undemanding studio audiences. And then we have the popular soap-operas, purporting to reflect the gritty reality of everyday life in urban and rural Britain but actually peddling noxious parables of political correctness ; with negroes, Asians, homosexuals and feminists as it were ‘parachuted’ into unlikely scenarios, while the rest of the cast show not the slightest awareness of their incongruity. Call the police or emergency services, a medical, paramedical or legal expert or social worker or magistrate as part of the plot, and their appearance prompts the now familiar ‘O double N A N’ (Oh no, not another n…r !) response in countless British households . One is not surprised to hear of covert studio slang like ‘blonking’ (getting blacks on camera) and ‘blackground’. All social life is depicted as centring on the pub, when the cast are not otherwise engaged in adultery, multiracial promiscuity, sexual perversion, fraud, lying, theft, trivial gossip and snivelling sentimentality. The same synthetic scenarios depict the police as mostly under the supervision of sexy females, accompanied by male underlings who can’t get a word in edgeways. All no doubt inspired by the ‘Prime Suspect’ TV drama in which an obviously very ambitious female detective is having it off with a negro constable during a major investigation. As if. Shakespeare would have said the female author of that particular play ‘doth protest too much’. Meanwhile the advertisers on commercial TV seem under orders to include at least one black in any scene with more than two participants. All in all these productions tell us a great deal more about the producers than they do about life as most of us know it. ‘Sir Trevor Blackdonald’ and his like notwithstanding, the viewing public are excruciatingly aware of having their noses rubbed in the mire of political correctness. No doubt the media mafia believe that this unrelenting indoctrination will persuade most people that TV and radio programmes accurately reflect life in contemporary Britain. But to agree with them you have to spend a lot more time in front of the TV than you do interacting with the real world; like the people in Plato’s cave metaphor, living in a world of shadows and fearful of the sunlight outside the cave mouth. As many nationalists have ruefully observed, liberating people from all this renegade indoctrination is like rescuing those in the grip of a bizarre religious cult or getting them off hard drugs. There can be no doubt that the British people need the equivalent of a ‘detoxification’ after so many years of renegade propaganda and commercial rubbish from the broadcast media. Radical reform of the mass media therefore deserves high priority in the nationalist manifesto. Among other things, this should include a BBC financed by voluntary public subscription and confined to an ‘inform and educate ‘remit, leaving the numerous commercial channels to compete for subscriptions in the entertainment market.. At the same time, of course, the commercial channels’ productions would have to be seen to accord with the nationalist ethos and to purge themselves of renegade and decadent content. So let us march towards the sunrise.
F Kimbal Johnson January 2007
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