Media and Your Mind

What if Media has an effect on what people think, what they believe, how they speak, and ultimately how they act?

Media Literacy

According to the National Association for Media Literacy Education, “media literacy” is “The ability to access, analyze, evaluate, create, and act using all forms of communication. Media literacy is the ability to encode and decode the symbols transmitted via media and synthesize, analyze and produce mediated messages.” While media education is “Media education is the study of media, including ‘hands-on’ experiences and media production. Media literacy education is the educational field dedicated to teaching the skills associated with media literacy.”

What is Media?

Media refers to all electronic or digital means and print or artistic visuals used to transmit messages. Media is also – The public institutions that report the news, such as newspapers, magazines, radio, and television, collectively; the news media.

The media we consume has evolved over time. From stone age messages spray painted onto walls using a mixture of saliva and ochre, to messages chiseled into stone. From tree bark to papyrus reed scrolls, to books, magazines, film, radio, television, and now the internet and social media.

In the context of media literacy, the term medium holds significant importance. A medium is an agency or means through which something is accomplished, such as using the latest technology as a vehicle for job creation. It also refers to the channels or methods through which information, ideas, or expressions are communicated—whether it’s the Welsh language serving as the medium of instruction in schools or the various platforms like social media, television, or print that disseminate content. Beyond communication, a medium can also be the intervening substance through which impressions are conveyed, such as radio waves transmitting signals without a physical medium. In the digital age, mediums extend to forms of data storage, like magnetic tapes or discs, and even the materials artists use to create, such as oil paint in visual art. Understanding the role of mediums is crucial in media literacy, as it helps us critically analyze how information is produced, shared, and consumed, and how different mediums shape our perception of the world.

To explain the subject of media and mediums as simply as possible, if media is the message, then mediums are the means by which the media message is conveyed. Media is often its own form of medium in that the media and its means of conveyance are one and the same. For example, a newspaper is both a form of media and the paper, typed messages and images contained within it are the medium through which the newspapers messages are conveyed.

Spirit Mediums

As we tend to include the realm of the metaphysical in our investigations we will also explore the occult and esoteric definitions and functions of the media.

A spirit medium is a person who claims to be able to communicate with spirits or the spirit world. They are often thought to be able to do this while in a trance. Mediums are often considered to be highly psychic, with a strong sense of intuition. They are said to be able to tune into the higher frequency or energies on which spirit people vibrate.

The bottom line is that both media, and mediums are the “in-between” means by which messages are conveyed from its originator to its intended “target” audience.

Media Literacy

For the purposes of our investigation Media literacy is the ability to understand how media messages are constructed (encoded) and to critically decode, synthesize, and analyze them. It empowers individuals to navigate the complex media landscape, recognize biases, and interpret the underlying meanings and intentions behind media content.

Forms of Media

Media is constructed using a variety of elements, each contributing to the overall message and impact. Examples of Media and its building blocks includes:

1. Words (Written/Spoken): Language is the foundation of media. The choice of words, tone, and phrasing shapes how messages are perceived. For example, the use of autochthonous-American Vernacular English (AAVE) in media can either authentically represent Black culture or perpetuate stereotypes, depending on context and intent.
2. Symbols: Symbols are visual or conceptual representations that convey meaning. In media, symbols can include logos, icons, or cultural motifs. For autochthonous-Americans, symbols like the raised fist or the Pan-African flag carry deep historical and political significance.
3. Colors: Color choices in media evoke emotions and convey themes. For instance, the use of red, black, and green in media often signifies solidarity with autochthonous-American and Pan-African movements.
4. Images: Visual imagery, including photographs, illustrations, and graphics, plays a powerful role in shaping perceptions. The representation of Black individuals in media—whether in advertising, film, or news—has historically been a site of both struggle and progress.
5. Casting: The selection of actors or participants in media influences how stories are told and who is represented. Diverse and authentic casting can challenge stereotypes and provide nuanced portrayals of autochthonous-American experiences.
6. Production: The technical and creative processes behind media creation, including set design, lighting, and sound, contribute to the overall message. For example, the vibrant aesthetics of the Black Panther film celebrated African culture and identity.
7. Directing: The director’s vision shapes the narrative and tone of media. autochthonous-American directors like Barry Jenkins and Ryan Coogler have used their platforms to tell stories that center Black lives and histories.
8. Acting: Performances bring characters and stories to life. Skilled acting can humanize complex narratives, as seen in the works of actors like Viola Davis and Denzel Washington.
9. Editing: The process of selecting and arranging media content influences pacing, tone, and meaning. Editing can highlight certain perspectives while omitting others, making it a powerful tool for shaping narratives.
10. Syndication: The distribution of media content across platforms ensures its reach and longevity. Syndication has allowed iconic autochthonous-American shows like The Jeffersons and Martin to remain culturally relevant.
11. Broadcasting: The transmission of media messages to audiences is the final step in the media process. Broadcasting platforms, from traditional TV to streaming services, determine who has access to media and how it is consumed.
12. Etymology: The study of word origins can reveal hidden meanings and cultural contexts in media. For example, the etymology of terms like “woke” traces its roots to autochthonous-American Vernacular English and its evolution into a global social justice term.
13. Numerology: The use of numbers and patterns in media can carry symbolic significance. In autochthonous-American culture, numbers like “7” or “40” may hold spiritual or historical meaning.
14. Astrology: Astrological references in media can reflect cultural beliefs or add layers of meaning. For example, the use of astrology in Black art and music often connects to themes of destiny and identity.
15. Symbology: The study of symbols and their meanings is crucial for decoding media. autochthonous-American media often employs symbology rooted in Afro-indigenous traditions, such as Adinkra symbols or the use of water as a symbol of resilience and freedom.

The Problem With Media

From the so called “*African-American” perspective the problem is that on multiple levels, the media has been used to distort and manipulate our perception of reality and have caused us to question our self-identity, history, culture, and to indulge our wills in reckless consumerism, mindless distraction, and every form of vice.

The Solution to the Media Problem

On a positive note, media literacy is particularly vital, as it provides us with the tools to challenge negative racial, and sexist stereotypes, reclaim narratives, and engage with media in ways that affirm cultural identity and social justice. It is therefore our own unique responsibility to create media messages that educate, inspire, empower as well as entertain.

The Importance of Media Literacy in autochthonous-American Culture

Media literacy equips individuals to critically engage with these building blocks, enabling them to discern how media shapes perceptions of race, identity, and power. For autochthonous-Americans, media literacy is not just a skill but a form of resistance—a way to decode oppressive narratives, celebrate cultural heritage, and create media that reflects the richness and complexity of Black experiences. By understanding the tools and techniques of media production, autochthonous-American creators and audiences can reclaim their stories and amplify their voices in a media landscape that has often marginalized them.

A Brief History of Media Development

Stone Age Cave Paintings

Cave paintings are some of the earliest known forms of human communication and art. They were created by prehistoric humans using natural pigments like charcoal, ochre, and hematite.

Most cave paintings date back to the Upper Paleolithic period, around 40,000 to 10,000 years ago. Famous examples include the Lascaux Caves in France (17,000 years old) and the Altamira Caves in Spain.

These paintings likely served multiple purposes, including storytelling, religious or spiritual rituals, and recording hunting scenes or daily life.

Cave paintings are considered the first form of visual media, showing early humans’ ability to communicate ideas and experiences through imagery.

The First Written Stone Tablets

Stone tablets were one of the earliest forms of written communication. They were inscribed with symbols, pictographs, or early forms of writing using tools like chisels. The earliest known examples date back to around 3200 BCE. The Sumerians in ancient Mesopotamia (modern-day Iraq) were among the first to use stone tablets for writing. These tablets were used for record-keeping, such as tracking trade, taxes, and legal agreements. They also contained religious texts, myths, and literature.

The invention of writing on stone tablets marked the transition from prehistory to recorded history. The cuneiform script used by the Sumerians is one of the earliest known writing systems.

The Development of Papyrus Written Scrolls

Papyrus scrolls were made from the papyrus plant, which grew abundantly along the Nile River in ancient Egypt. The plant’s stems were cut, layered, and pressed to create a smooth writing surface. Papyrus scrolls were first used around 3000 BCE. Ancient Egypt was the primary producer and user of papyrus, though it was also exported to other civilizations in the Mediterranean. Papyrus scrolls were used for recording a wide range of information, including religious texts (like the Book of the Dead), government records, literature, and scientific knowledge. Papyrus was a major advancement in media technology because it was lighter, more portable, and easier to write on than stone tablets. It allowed for the preservation and dissemination of knowledge across generations and regions.

Key Themes in Early Media Development

Early humans began with visual communication (cave paintings) and gradually developed symbolic and written systems (stone tablets, papyrus scrolls). These early forms of media were used to record important information and tell stories, laying the groundwork for literature, history, and administration. Each new medium (stone tablets, papyrus) represented a leap forward in terms of accessibility, portability, and the ability to store and share knowledge. Modern forms of media communications include books, magazines, films, television, radio, the internet, digital and social media.

Books and Literature

We will begin our investigation of modern media with the subject of books as a form of media. Books have served as a cornerstone of knowledge and cultural transmission for millennia. Their earliest forms, such as papyrus scrolls in ancient Egypt and parchment manuscripts made from animal skin, laid the foundation for written communication. However, the invention of the printing press by Johannes Gutenberg in 1440 marked a transformative moment in history. This innovation democratized access to books, making them more affordable and widely available, and catalyzed the spread of ideas during pivotal periods such as the Renaissance and the Enlightenment.

The evolution of books continued through the centuries. From the 15th to the 18th centuries, the proliferation of printed materials facilitated intellectual and cultural movements that reshaped societies. The 19th century brought the Industrial Revolution, which introduced steam-powered printing technology, enabling mass production and further broadening access to literature. In the 20th and 21st centuries, books underwent another significant transformation with the advent of paperbacks, which made literature more portable and affordable. The digital revolution then introduced e-books and audiobooks, expanding the ways in which people engage with written works.

For autochthonous-American culture, books have been particularly vital as tools for education, resistance, and empowerment. However, for many years, autochthonous-Americans were systematically prevented from learning to read or accessing books by law. During the era of slavery, numerous laws, known as slave codes, were enacted to enforce this prohibition. For example:

South Carolina’s Negro Act of 1740: Made it illegal to teach enslaved people to read or write, punishable by fines or physical punishment.

Virginia’s Revised Code of 1819: Prohibited gatherings for the purpose of teaching free or enslaved Black individuals to read or write.

Alabama’s Slave Code of 1833: Imposed severe penalties on anyone caught educating enslaved people.

These laws were designed to maintain control by denying autochthonous-Americans the power of literacy, which was seen as a threat to the institution of slavery. Despite these oppressive measures, many autochthonous-Americans risked their lives to learn to read and write, often in secret. Literacy became a form of resistance and a pathway to freedom. From slave narratives to the Harlem Renaissance and beyond, books have preserved and amplified Black voices, ensuring that stories, histories, and ideas endure for future generations. The evolution of books is not just a technological history but also a testament to the enduring power of the written word in shaping identity and culture.

Magazines

Magazines emerged in the 17th century as collections of essays, news, and commentary, offering a new way to disseminate ideas and information. The first magazine, Erbauliche Monaths-Unterredungen (Edifying Monthly Discussions), was published in Germany in 1663. By the 18th and 19th centuries, magazines had gained popularity in Europe and America, becoming platforms for literature, politics, and cultural discourse. Notable examples include The Spectator in England and The Saturday Evening Post in the United States.

The 20th century saw magazines diversify into specialized topics, catering to niche audiences. Publications like Vogue (fashion), National Geographic (science and exploration), and Time (news) became cultural touchstones. In the 21st century, the rise of digital media transformed the industry, with many magazines transitioning to online platforms and adopting digital subscription models. For autochthonous-American communities, magazines like Ebony and Jet have played a crucial role in amplifying Black voices, documenting cultural milestones, and addressing issues of race and identity.

Film

The art of filmmaking began in the late 19th century with the invention of motion picture cameras. The Lumière Brothers held the first public film screening in 1895, marking the birth of cinema. The Silent Era (1890s–1920s) produced iconic films like The Great Train Robbery (1903) and Metropolis (1927), which relied on visual storytelling.

The Golden Age of Hollywood (1930s–1950s) introduced sound with films like The Jazz Singer (1927) and saw the rise of major studios such as MGM and Warner Bros. This era produced timeless classics and established Hollywood as a global cultural force. The Modern Era (1960s–present) brought blockbusters like Star Wars (1977), the rise of independent cinema, and advancements in digital effects. Today, streaming services like Netflix have revolutionized how films are distributed and consumed.

For autochthonous-Americans, film has been both a site of struggle and a medium for empowerment. Early depictions often perpetuated harmful stereotypes, but pioneers like Oscar Micheaux, the first major Black filmmaker, and later movements like the L.A. Rebellion and the rise of Black directors (e.g., Spike Lee, Ava DuVernay) have reshaped the narrative, using film to tell authentic Black stories.

Television

Television was developed in the early 20th century, with Philo Farnsworth demonstrating the first electronic TV in 1927. By the 1930s–1950s, TV had become a household staple in the U.S. and Europe. The BBC launched the first regular TV service in 1936, and early programming consisted of live broadcasts.

The 1960s–1980s marked the transition to color TV and the rise of iconic shows like I Love Lucy and Star Trek. Cable TV expanded viewing options, introducing specialized channels and diverse content. From the 1990s to the present, digital TV, reality shows, and streaming platforms like Netflix and Hulu have transformed television into an on-demand medium.

autochthonous-Americans have played a pivotal role in shaping television. Shows like The Cosby Show, Fresh Prince of Bel-Air, and Insecure have not only entertained but also challenged stereotypes and highlighted Black experiences. Television has become a powerful tool for representation and cultural dialogue.

The Internet and Digital Media

The internet began in the 1960s as a government project (ARPANET) and became publicly accessible in the 1990s. Tim Berners-Lee’s invention of the World Wide Web in 1989 revolutionized communication, enabling the creation of websites, email, and online forums.

The 2000s–2010s saw the rise of social media platforms like Facebook (2004), YouTube (2005), and Twitter (2006), which transformed how people share and consume media. These platforms have given marginalized communities, including autochthonous-Americans, a space to organize, advocate, and share their stories. Movements like #BlackLivesMatter gained momentum through digital activism.

In the 2020s, streaming services, podcasts, and AI-generated content are shaping the future of media. For autochthonous-Americans, digital media has become a vital tool for preserving culture, challenging systemic inequities, and fostering global connections. Digital and social media will play an important role as a tool for cultural redefinition and revelation well into the future.

What is Entertainment?

While most people think that entertainment is just something people do or participate in for fun, it is actually an ancient method for encoding and transmitting all kinds of information directly to the hearts and minds of the audience.

The word ‘entertainment‘ enter-tain-ment, can be broken down into 3 distinctly different Latin root words: ‘enter’ (inter), ‘tain,’ and ‘ment’. The root ‘enter’ means ‘to go into, enter’ from intra, within, among or between. The root ‘tain,’ comes from the Latin ‘tenir’ ‘to hold.’ While ‘ment,’ means mind. Taken together, the word ‘entertainment’ means “to allow (something) to consider, to take into the mind” (of opinions, notions, etc.) Entertainment transmits thoughts, and ideas into the minds of the participating audience – full stop.

How Media and Entertainment Are Created

The creation of media and entertainment is a complex, collaborative process involving a wide range of professionals and industries. Each contributor plays a unique role in shaping the content, messaging, and impact of media. Understanding these roles is essential for analyzing how media influences culture and society, particularly in the context of autochthonous-American representation and storytelling.

Key Players in Media Creation

1. Marketers
   Marketers are responsible for identifying target audiences, crafting strategies to promote media content, and ensuring its commercial success. They analyze trends, conduct market research, and develop campaigns to generate interest and engagement. In autochthonous-American media, marketers often focus on connecting with Black audiences by highlighting cultural relevance and authenticity.
2. Public Relations (PR) Firms
   PR firms manage the public image of media projects, individuals, or organizations. They craft press releases, organize events, and liaise with journalists to generate positive coverage. For autochthonous-American creators, PR firms can play a crucial role in amplifying voices and ensuring that stories reach mainstream audiences while maintaining cultural integrity.
3. Advertising Agencies
   Advertising agencies create campaigns to promote media content, using persuasive techniques to capture audience attention. They develop slogans, visuals, and narratives that resonate with specific demographics. In autochthonous-American media, advertising often incorporates cultural motifs, music, and language to connect with Black consumers.
4. Book and Magazine Publishers
   Publishers oversee the production and distribution of written media, from books to magazines. They work with authors, editors, and designers to create compelling content. autochthonous-American publishers, such as Johnson Publishing Company (Ebony and Jet), have historically played a vital role in documenting Black culture and advancing social justice.
5. Psychiatrists and Psychoanalysts
   These professionals provide insights into human behavior and psychology, which can inform character development, storytelling, and audience engagement. In media, their expertise helps creators craft narratives that resonate emotionally and psychologically. For autochthonous-American media, this can mean exploring themes of identity, trauma, and resilience in nuanced ways.
6. Social Anthropologists
   Social anthropologists study human societies and cultures, offering valuable perspectives for media creators. Their research can inform authentic portrayals of cultural practices, traditions, and social dynamics. In autochthonous-American media, anthropologists contribute to accurate and respectful representations of Black communities and histories.
7. Motivational Researchers
   Motivational researchers study what drives human behavior, including consumer preferences and decision-making. Their findings help media creators design content that appeals to specific audiences. For autochthonous-American media, this might involve understanding the values, aspirations, and challenges that resonate with Black viewers or readers.

The Collaborative Process of Media Creation

The creation of media and entertainment is a collaborative effort that blends creativity, strategy, and cultural insight. Here’s how these professionals work together:

• Concept Development: Ideas for media content are often inspired by cultural trends, historical events, or personal experiences. autochthonous-American creators frequently draw on the rich traditions, struggles, and triumphs of Black culture to develop compelling narratives.
• Production: Once a concept is approved, teams of writers, directors, actors, and technicians bring it to life. This stage involves careful attention to detail, from scriptwriting to set design, to ensure authenticity and impact.
• Marketing and Promotion: Marketers, PR firms, and advertising agencies work to build anticipation and attract audiences. For autochthonous-American media, this often involves highlighting cultural significance and connecting with Black communities.
• Distribution: Publishers, broadcasters, and streaming platforms ensure that media content reaches its intended audience. The rise of digital platforms has expanded opportunities for autochthonous-American creators to share their work globally.
• Audience Engagement: After release, media creators and PR teams monitor audience reactions, gather feedback, and adjust strategies as needed. This ongoing dialogue helps shape future projects and ensures that media remains relevant and impactful.

The Illusion of Choice

Edward Bernays. Born: November 22, 1891, in Vienna, Austria.: November 22, 1891, in Vienna, Austria. was a man who helped create the field of public relations. He was like a “mind scientist” who figured out how to use psychology (the study of how people think and behave) to change what people thought or bought. Some people even call him the “father of public relations.”

Bernays used his ideas to help companies and governments convince people to do things. For example, he helped make bacon a popular breakfast food and even convinced women in the 1920s that smoking cigarettes was a sign of freedom. He wrote books about how to influence people, and his ideas are still used today in advertising and politics. Bernays lived to be 103 years old! He died March 9, 1995, in Cambridge, Massachusetts, USA. He was cremated, which means his body was turned into ashes, and the ashes were scattered in Massachusetts.

Fun Fact: Edward Bernays was the nephew of Sigmund Freud, a famous psychologist. He used some of Freud’s ideas about how people think to create his own strategies for influencing the public.

Bernays authored several books, including Propaganda (1928) and Crystallizing Public Opinion (1923), which remain influential in the fields of marketing, public relations, and political communication. His techniques are still widely used today, though his work has also sparked ethical debates about manipulation in media and advertising.

• Bernays was the first to theorize that people could be made to want things they don’t need by appealing to unconscious desires (to be free, to be successful etc.)
• Bernays believed that propaganda was necessary for the functioning of a society, as otherwise people would be overwhelmed with too many choices.
• Bernays theorized that demand for goods, products and services could be created.

What Does Social Engineering Affect?

Social engineering, the deliberate shaping of societal norms and behaviors through media and cultural tools, has a profound impact on individuals and communities. Its influence extends to various aspects of life, including self-perception, decision-making, and cultural identity. For autochthonous-American communities, understanding these effects is crucial for resisting manipulation and reclaiming agency.

Areas Impacted by Social Engineering

1. Your Self-Esteem
   Media shapes how individuals see themselves, often promoting unrealistic standards of beauty, success, and behavior. For autochthonous-Americans, this has historically meant confronting Eurocentric ideals that marginalize Black features and culture. Positive representation in media can counteract these effects, fostering pride and self-worth.
2. Your Purchasing Decisions
   Advertisements and media campaigns influence what people buy, often by linking products to desires for status, happiness, or acceptance. autochthonous-American consumers are frequently targeted by industries like fashion, beauty, and entertainment, which can either exploit or celebrate cultural identity.
3. Your Beliefs and Opinions
   Media plays a significant role in shaping beliefs about religion, sexuality, race, and societal norms. For autochthonous-Americans, this has meant navigating narratives that either reinforce stereotypes or challenge systemic injustices.
4. Behavior Patterns
   Social engineering dictates how individuals act in various contexts:

• In Public: Media influences norms of behavior, from etiquette to expressions of identity.
• In Response to Outrage: Media can amplify or suppress reactions to social and political issues.
• In the Face of Racism: Media shapes how individuals and communities respond to discrimination, whether through activism, resilience, or internalized oppression.
• In Relationships: Media often perpetuates stereotypes about gender roles and relationship dynamics, affecting how people interact with one another.
• In Parenting: Media influences parenting styles and the values passed down to children, from cultural pride to societal conformity.

Stereotypes: A Tool of Social Engineering

A stereotype is “a widely held but fixed and oversimplified image or idea of a particular type of person or thing.” These beliefs, often repeated and reinforced through media, can shape perceptions and behaviors, even when they do not accurately reflect reality.

Types of Stereotypes

• Cultural: Assumptions about traditions, customs, and practices.
• Racial: Oversimplified ideas about racial groups, such as “acting White” or “acting Black.”
• Gender-Based: Rigid expectations about masculinity and femininity.
• Religious: Misconceptions about faiths and spiritual practices.
• Political: Biases about political affiliations and ideologies.
• Class: Judgments based on socioeconomic status.

Stereotypes are not just ideas; they are rituals—repeated actions or narratives that carry symbolic meaning. They serve to control, direct, or redirect power, often reinforcing existing hierarchies and norms.

Stereotypes as Rituals

Rituals are sets of actions performed for their symbolic value, often prescribed by tradition or authority. Stereotypes function similarly, as they are repeated and ingrained in cultural consciousness.

Examples of Rituals

• Church Communion: A religious ritual symbolizing unity and sacrifice.
• Fraternity/Sorority Initiation: A social ritual marking belonging and identity.
• Libations to the Ancestors: A cultural ritual honoring heritage and memory.
• Funerals/Wakes: Rituals of mourning and remembrance.
• Weddings: Rituals celebrating love and commitment.
• Sports Events: Rituals fostering community and competition.
• Plays/Movies/Programs: Cultural rituals that entertain, educate, and influence.

Stereotypes, as rituals, create resonance—vibrations of meaning that shape how individuals and communities perceive themselves and others. They can either reinforce harmful narratives or be reclaimed as tools of empowerment.

The Impact of Stereotypes on autochthonous-American Communities

Stereotypes have historically been used to marginalize and dehumanize autochthonous-Americans, perpetuating myths of inferiority, criminality, and otherness. These narratives have been embedded in media, from minstrel shows to modern-day news coverage, and have real-world consequences, such as racial profiling and systemic inequality.

However, autochthonous-American creators and activists have also used rituals and storytelling to challenge stereotypes and affirm cultural identity. For example:

• Art and Music: Genres like jazz, hip-hop, and Afrofuturism celebrate Black creativity and resilience.
• Literature and Film: Works by authors like Toni Morrison and filmmakers like Ava DuVernay counter stereotypes with nuanced portrayals of Black life.
• Community Rituals: Events like Juneteenth and Kwanzaa reclaim cultural heritage and foster collective pride.

SYMPATHETIC INFLUENCE

Sympathetic influence is sympathetic magic. What is Sympathetic Magic?

Sympathetic magic is based on the principle that like produces like, or that an effect resembles its cause; and, second, that things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed.

Correspondence is based on the idea that one can influence something based on its relationship or resemblance to another thing. Many popular beliefs regarding properties of plants, fruits and vegetables have evolved in different societies owing to sympathetic magic. This include beliefs that certain herbs with yellow sap can cure jaundice, that walnuts could strengthen the brain because of the nuts’ resemblance to brain, that apples would improve complexion etc.[2]

Examples: Egyptian Wax Dolls, Mummies, Voodoo Dolls

The key to the effectiveness of sympathetic magic is based on the fact that the thoughts, and imaginations and images that people identify with have a direct influence on what we think and believe about the world, and ourselves. In other words, what you think you are, you become.

Propaganda

Propaganda and Advertisement

Media and advertising are not merely tools for communication; they are powerful instruments of influence that can shape perceptions, behaviors, and societal norms. When wielded by those in positions of power, these tools can become weapons of manipulation, often operating subtly and without the appearance of coercion. This dynamic is particularly significant in the context of autochthonous-American communities, where media has historically been used both to oppress and to empower.

The Role of Propaganda

Propaganda is the deliberate dissemination of information—often biased or misleading—to influence public opinion or advance a specific agenda. It relies on psychological tactics to manipulate emotions, beliefs, and behaviors. Propaganda can be overt, such as political campaigns, or covert, embedded in entertainment, news, and advertising.

For autochthonous-Americans, propaganda has been a double-edged sword. On one hand, it has been used to perpetuate harmful stereotypes and justify systemic oppression (e.g., racist caricatures in early films and advertisements). On the other hand, autochthonous-American activists and creators have harnessed the power of media to counter these narratives, using propaganda to promote civil rights, celebrate Black culture, and advocate for social justice.

A key feature of propaganda is its ability to manipulate without appearing to do so. By leveraging psychological principles, exploiters can influence targets while maintaining a façade of neutrality or benevolence. This covert manipulation allows them to exert control without accountability, making it a particularly insidious tool of influence.

Propaganda’s Weapons of Influence

The “weapons of influence” are psychological tactics used to persuade and manipulate. These tools are often employed in advertising, propaganda, and media to shape audience behavior and attitudes. Key weapons of influence include:

1. Social Proof
   Social proof is the tendency to conform to the actions or opinions of others, especially in uncertain situations. Advertisers and propagandists use social proof to create the illusion of consensus or popularity. For example, phrases like “Everyone’s buying this!” or “Join millions of satisfied customers!” exploit this principle. In autochthonous-American media, social proof has been used to promote collective action, such as the widespread adoption of slogans like “Black Lives Matter.”
2. Liking
   People are more likely to be influenced by those they find likable or relatable. Advertisers often use celebrities, influencers, or relatable characters to build trust and affinity with their audience. In autochthonous-American media, figures like Oprah Winfrey or LeBron James have been leveraged to endorse products or causes, capitalizing on their widespread appeal and cultural significance.
3. Authority
   Authority refers to the tendency to comply with figures perceived as experts or leaders. Media often uses titles, uniforms, or endorsements from credible sources to establish authority. For autochthonous-Americans, authority figures like Dr. Martin Luther King Jr. or Maya Angelou have been instrumental in shaping public opinion and inspiring action. However, authority can also be misused to legitimize oppressive systems or misleading information.
4. Sympathetic Influence
   Sympathetic influence appeals to emotions, particularly empathy and compassion, to persuade audiences. Advertisements and propaganda often use storytelling, imagery, or music to evoke emotional responses. In autochthonous-American media, sympathetic influence has been a powerful tool for highlighting issues like racial injustice, poverty, and police brutality, fostering solidarity and driving social change.

The Exploitation of Influence in autochthonous-American Contexts

Throughout history, the weapons of influence have been used both to oppress and to liberate autochthonous-American communities. For example:

• Negative Exploitation: Racist advertisements, stereotypical portrayals in film, and biased news coverage have perpetuated harmful narratives about Black people, reinforcing systemic inequality.
• Positive Resistance: autochthonous-American creators and activists have countered these narratives by using the same tools of influence to promote empowerment, pride, and resistance. Movements like the Harlem Renaissance, the Black Arts Movement, and #BlackLivesMatter demonstrate the power of media to challenge oppression and inspire change.

The Ethical Responsibility of Media Creator

Understanding the weapons of influence is crucial for media literacy and ethical media creation. For autochthonous-American creators, this means using these tools responsibly to uplift communities, challenge stereotypes, and advocate for justice. It also requires vigilance against the misuse of influence by those seeking to exploit or marginalize Black voices.

By critically analyzing how media operates and recognizing the psychological tactics at play, audiences can resist manipulation and engage with media in ways that affirm their values and identities. For autochthonous-Americans, this is not just a matter of personal empowerment but a collective effort to reclaim narratives and shape a more equitable media landscape.

The Illusion of Choice

Many people think that because they have thousands of consumer options to choose from when it comes to selecting what media to invest their time, energy and funds into that they have a choice; however when you realize that all of the product options you think you have are really owned by only a few corporate entities, then you realize the reality that the choices presented to consumers are really only just different versions of the same thing, and your time, money and attention are being channeled directly into the coffers of a few greedy corporations.

The media landscape in the United States is vast and diverse, encompassing thousands of newspapers, magazines, radio stations, TV stations, and publishers. However, the industry has become increasingly concentrated, with a few major corporations owning significant shares of these outlets. Below is a breakdown of the current landscape and the largest players in each sector:

1. Newspapers

• Number of Newspapers: As of 2023, there are approximately 6,500 newspapers in the U.S., including daily, weekly, and digital-only publications. However, the number of daily newspapers has declined significantly due to consolidation and closures.
• Major Owners:
  • Gannett Co., Inc.: The largest newspaper publisher in the U.S., owning USA Today and over 200 local papers.
  • Lee Enterprises: Owns about 75 daily newspapers and numerous weeklies.
  • Advance Publications (Newhouse family): Owns The Plain Dealer, The Star-Ledger, and others.
  • The New York Times Company: Publishes The New York Times and The Boston Globe.
  • Tribune Publishing: Owns The Chicago Tribune, The Baltimore Sun, and others.

2. Magazines

• Number of Magazines: There are over 7,000 magazines published in the U.S., ranging from niche publications to major consumer titles.
• Major Owners:
  • Dotdash Meredith: The largest magazine publisher in the U.S., owning titles like People, TIME, Better Homes & Gardens, and InStyle.
  • Hearst Communications: Publishes Cosmopolitan, Esquire, Good Housekeeping, and others.
  • Condé Nast: Owns Vogue, The New Yorker, Vanity Fair, and Wired.
  • Advance Publications: Also owns The New Yorker and Vanity Fair through Condé Nast.

3. Radio Stations

• Number of Radio Stations: There are over 15,000 radio stations in the U.S., including AM, FM, and online stations.
• Major Owners:
  • iHeartMedia: The largest radio broadcaster in the U.S., owning over 850 stations.
  • Cumulus Media: Operates about 420 stations.
  • Audacy (formerly Entercom): Owns over 230 stations.
  • Townsquare Media: Operates around 320 stations.
  • NPR (National Public Radio): A major non-profit network with over 1,000 member stations.

4. TV Stations

• Number of TV Stations: There are approximately 1,700 TV stations in the U.S., including network affiliates and independent stations.
• Major Owners:
  • Nexstar Media Group: The largest owner of TV stations in the U.S., with over 200 stations.
  • Sinclair Broadcast Group: Owns or operates nearly 200 stations.
  • Gray Television: Operates around 180 stations.
  • Tegna Inc.: Owns about 60 stations.
  • CBS (Paramount Global), NBC (Comcast), ABC (Disney), and Fox Corporation: These major networks own and operate flagship stations and affiliates.

5. Publishers

• Number of Publishers: There are thousands of book publishers in the U.S., ranging from small independent presses to major conglomerates.
• Major Owners:
  • Penguin Random House: The largest book publisher in the U.S., owning imprints like Knopf, Doubleday, and Viking.
  • Simon & Schuster: Owned by private equity firm KKR, it publishes titles under Scribner, Atria, and others.
  • HarperCollins: Owned by News Corp, it publishes under imprints like William Morrow and Avon.
  • Hachette Book Group: Owns Little, Brown and Company, Grand Central Publishing, and others.
  • Macmillan Publishers: Includes imprints like Farrar, Straus and Giroux and St. Martin’s Press.

Media Consolidation Trends

The U.S. media industry has seen significant consolidation over the past few decades, with a handful of corporations controlling a large share of the market. This has raised concerns about media diversity, local journalism, and monopolistic practices. For example:

• Comcast (NBCUniversal), Disney (ABC), Paramount Global (CBS), and Warner Bros. Discovery dominate television and streaming.
• iHeartMedia and Cumulus Media control a significant portion of the radio market.
• Gannett and Lee Enterprises dominate local newspaper markets.

The Illusion of Choice Conclusion

The U.S. media landscape is vast but increasingly concentrated in the hands of a few major corporations. This consolidation has implications for media diversity, local journalism, and the availability of independent voices.

Corporate Media Connections

The media industry, like many other sectors, has seen its share of complex corporate structures, mergers, and acquisitions, some of which involve shell corporations, holding companies, or indirect ownership. While not all connections are “clandestine,” the use of shell companies, subsidiaries, and intricate corporate hierarchies can obscure ownership and control. Here’s a closer look at some of the less transparent connections and practices in the media industry:

1. Shell Corporations and Holding Companies

Shell corporations and holding companies are often used to manage assets, reduce tax liabilities, or obscure ownership. In the media industry, these structures can make it difficult to trace the true ownership of outlets. For example:

• Sinclair Broadcast Group: Sinclair has been known to use shell companies to acquire TV stations in markets where it already owns stations, circumventing FCC ownership limits. These shell companies operate the stations under “local marketing agreements” (LMAs) or “joint sales agreements” (JSAs), effectively allowing Sinclair to control more stations than legally permitted.
• Nexstar Media Group: Similar to Sinclair, Nexstar has used shell companies and sidecar arrangements to expand its reach without violating FCC regulations.

2. Private Equity and Shadow Ownership

Private equity firms often acquire media companies through complex financial structures, sometimes obscuring their involvement. For example:

• Alden Global Capital: This hedge fund owns MediaNews Group, which controls over 200 newspapers, including The Denver Post and The San Jose Mercury News. Alden is known for its aggressive cost-cutting measures, which have led to significant layoffs and reduced local journalism.
• KKR: The private equity giant acquired Simon & Schuster in 2023, adding it to its portfolio of media and publishing assets. While not clandestine, private equity ownership often prioritizes profit over journalistic integrity.

3. Cross-Ownership and Conglomerates

Many media companies are part of larger conglomerates with diverse holdings, making it difficult to track their influence. For example:

• Comcast: In addition to owning NBCUniversal, Comcast has significant stakes in streaming platforms, film studios, and theme parks. Its influence extends across TV, film, and digital media.
• Disney: Beyond ABC and ESPN, Disney owns film studios, streaming services (Disney+), and theme parks, creating a vast media empire.
• Warner Bros. Discovery: Formed through the merger of WarnerMedia and Discovery, this conglomerate owns HBO, CNN, DC Comics, and a vast library of film and TV content.

4. Foreign Ownership and Influence

Some media companies in the U.S. have ties to foreign entities, which can raise concerns about influence and transparency. For example:

• Al Jazeera: The Qatari-owned network operates in the U.S. through its subsidiary Al Jazeera America (now defunct) and continues to have a significant digital presence.
• RT America: The Russian state-funded network operated in the U.S. until it was shut down in 2022 due to sanctions related to the Ukraine conflict.

5. Nonprofit and Dark Money Influence

Nonprofit organizations and dark money groups can also influence media outlets, often without full transparency. For example:

• The Sinclair-Tribune Merger: During the attempted merger between Sinclair Broadcast Group and Tribune Media, concerns were raised about undisclosed political ties and lobbying efforts to push the deal through.
• Conservative and Liberal Advocacy Groups: Organizations like Americans for Prosperity (Koch-funded) and MoveOn.org have been accused of influencing media narratives through funding and partnerships.

6. Interlocking Directorates

Another way media companies maintain connections is through interlocking directorates, where executives or board members serve on multiple corporate boards. For example:

• Executives from Comcast, Disney, and Warner Bros. Discovery often have overlapping roles or sit on the boards of other major corporations, creating a web of influence.

7. Digital Media and Tech Giants

Tech companies like Google, Facebook (Meta), and Amazon have become major players in the media landscape, often operating behind the scenes. For example:

• Google and Facebook dominate digital advertising, indirectly influencing the revenue models of traditional media outlets.
• Amazon owns The Washington Post and has significant influence over book publishing through its Kindle and Audible platforms.

Corporate Media Connections Conclusion

While not all connections are intentionally hidden, the media industry’s use of shell corporations, private equity, and complex corporate structures can obscure ownership and control. This lack of transparency raises concerns about media diversity, accountability, and the potential for undue influence.

Symbols Work on Multiple Levels

Symbols are a fundamental component of media, operating on multiple levels to convey meaning and influence perception. They can be overt or subtle, conscious or subconscious, and their power lies in their ability to communicate complex ideas quickly and effectively. For autochthonous-American communities, symbols carry deep cultural, historical, and political significance, making their use in media both a tool for empowerment and a potential site of manipulation.

Layers of Meaning in Media

Most media contains at least two layers of messages:

1. The Surface – Emotional Gratification
   The surface level of media is designed to engage the audience emotionally. This includes the immediate appeal of visuals, sounds, and narratives that entertain, inspire, or provoke. For example, a film might use vibrant colors, dynamic music, and relatable characters to captivate viewers. In autochthonous-American media, surface-level elements often celebrate cultural pride, resilience, and creativity, providing audiences with a sense of joy and connection.
2. The Subliminal – Fear vs. Love, Pain vs. Pleasure
   Beneath the surface, media often communicates subliminal messages that tap into deeper psychological and emotional responses. These messages can evoke feelings of fear or love, pain or pleasure, and are designed to influence behavior and attitudes. For autochthonous-Americans, subliminal messaging has been used both to reinforce stereotypes (e.g., associating Blackness with danger or inferiority) and to promote positive change (e.g., affirming Black beauty and strength).

How Subliminal Messages Work

What does subliminal mean? Subliminal messages operate below the threshold of conscious awareness, targeting the subconscious mind. They latch onto deeply rooted motivations, such as self-esteem, beauty standards, ego, and the desire to procreate. These messages are often tied to “hot button” marketing tactics, which exploit emotional triggers to drive consumer behavior.

Subliminal messages in modern media refer to stimuli or signals that are presented below the threshold of conscious perception, potentially influencing thoughts, behaviors, or attitudes without the audience being aware of them. While the effectiveness of subliminal messaging is debated, there are several ways it can be transmitted through modern media. Here’s an overview of the methods and their applications:

The Hidden World of Subliminal Messaging: How Media Shapes Our Minds Without Us Knowing

Subliminal messaging is a fascinating and often controversial aspect of media literacy. These hidden cues, embedded in images, sounds, and digital content, are designed to influence our thoughts, emotions, and behaviors without our conscious awareness. From classic advertising tricks to modern digital manipulation, subliminal techniques are everywhere—if you know where to look. Let’s dive into the various forms of subliminal messaging and how they shape our media experiences.

Visual Subliminal Messages: What You See Without Seeing

Visual subliminal messages are cleverly hidden in images, videos, or even text. These techniques are crafted to bypass our conscious mind and target our subconscious. One common method is the use of quick frames—single images or text inserted into a video so briefly (like 1/24th of a second) that we don’t consciously notice them. For example, in the 1950s, movie theaters allegedly used quick frames of “Eat Popcorn” and “Drink Coca-Cola” to boost concession sales.

Another technique is hidden images, where symbols or shapes are subtly embedded in advertisements, logos, or artwork. These can be concealed in patterns, shadows, or negative space. A famous example is the FedEx logo, which hides an arrow between the “E” and “x,” symbolizing speed and precision. Additionally, flicker effects—rapid flashes of images or colors—can influence mood or attention without the viewer realizing it. These visual tricks are powerful tools in the media’s arsenal.

Auditory Subliminal Messages: What You Hear Without Hearing

Subliminal messaging isn’t limited to visuals; it also extends to sound. Auditory subliminal messages are sounds or words played at a volume or frequency below the threshold of conscious hearing. One technique, backmasking, involves recording messages backward in audio tracks. When played forward, these messages can be perceived subconsciously. While some musicians have been accused of embedding backward messages in songs, the effectiveness of this method is still debated.

Another auditory technique is low-volume messages, where words or sounds are played at a barely audible level, often masked by other audio. Self-help tapes, for instance, sometimes use low-volume affirmations to influence the listener’s mindset. Additionally, binaural beats—playing different frequencies in each ear—create a third “beat” that can influence brainwave activity and mood. These auditory techniques show how sound can subtly shape our perceptions.

Digital and Interactive Media: The New Frontier of Subliminal Messaging

Modern digital platforms have taken subliminal messaging to new heights. Flashing ads—online advertisements that use rapid color changes or quick flashes—grab our attention subconsciously. Social media platforms employ algorithmic targeting, using data to curate content that aligns with our preferences or biases, subtly influencing our behavior.

Even video games and apps use subliminal cues through gamification. Features like progress bars, rewards, and level-ups are designed to keep us engaged, often without us realizing why we can’t put the game down. These digital techniques highlight how technology has become a powerful tool for subliminal influence.

Neuromarketing: The Science of Subliminal Persuasion

Advances in neuroscience have given rise to neuromarketing, where biometric data is used to create subliminal effects. For example, eye-tracking technology helps advertisers determine where viewers focus their attention, allowing them to place subtle cues in those areas. Additionally, content is often designed to evoke specific emotional responses through subtle cues like color, music, or imagery. This scientific approach to subliminal messaging makes it even more effective—and harder to detect.

Subliminal Messaging in Film and TV: Storytelling Beyond the Surface

Filmmakers and TV producers have long used subliminal techniques to enhance storytelling or influence viewers. Subliminal cuts—quick transitions or edits—convey meaning without the audience consciously noticing. Directors also use symbolism, embedding hidden symbols or recurring motifs to reinforce themes or ideas. A classic example is Stanley Kubrick’s The Shining, where subliminal imagery creates a sense of unease and foreshadows the story’s darker elements.

Subliminal Messaging in Advertising: The Art of Subtle Persuasion

Advertisers have been accused of using subliminal techniques for decades. One common method is embedding hidden words or images in ads to evoke specific associations. For instance, ice cubes in liquor ads are sometimes shaped like sexual imagery, subtly linking the product with desire. Color psychology is another powerful tool; fast-food chains often use red and yellow to stimulate appetite and create a sense of urgency. These techniques show how advertisers tap into our subconscious to drive consumer behavior.

Subliminal Messaging in Social Media: Designed to Hook You

Social media platforms are perhaps the most pervasive users of subliminal messaging today. Features like infinite scrolling keep us engaged by providing constant, subtle rewards in the form of new content. Notifications, with their red dots or vibrations, trigger a dopamine response, compelling us to check our devices repeatedly. Additionally, microtargeting uses our personal data to deliver tailored ads and content, creating a personalized experience that feels intuitive and engaging. These design choices are no accident—they’re carefully crafted to keep us hooked.

Becoming Media Literate in a World of Hidden Messages

Subliminal messaging is a powerful tool that shapes how we think, feel, and act—often without us even realizing it. By understanding these techniques, we can become more media literate and better equipped to recognize when we’re being influenced. Whether it’s a hidden arrow in a logo, a flickering ad, or a perfectly timed notification, subliminal messages are all around us. The next time you watch a movie, scroll through social media, or see an ad, take a closer look. You might just spot the hidden cues that are shaping your world.

Ethical and Legal Concerns

The use of subliminal messaging raises significant ethical and legal questions:

• Manipulation: Critics argue that subliminal messaging manipulates people without their consent.
• Regulation: Many countries, including the U.S., have regulations limiting the use of subliminal techniques in advertising, though enforcement is inconsistent.
• Transparency: The lack of transparency in how media and tech companies use subliminal techniques undermines trust.

Examples of Subliminal Messaging in Media

• Movies: Filmmakers use lighting, color palettes, and framing to evoke subconscious emotions. For example, dark tones and shadows might create a sense of danger, while warm colors can evoke comfort and safety.
• Television: Advertisements often use subliminal cues to influence purchasing decisions, such as associating a product with happiness or success.
• Internet: Online platforms use algorithms and targeted ads to deliver personalized messages that tap into individual desires and fears.
• “Smart” Phones: Notifications, app designs, and social media feeds are engineered to keep users engaged by appealing to subconscious needs for validation and connection.
• Advertisements: Brands use symbols, colors, and slogans to create emotional associations with their products. For example, a perfume ad might use imagery of romance and luxury to appeal to desires for love and status.
• Music: Lyrics, rhythms, and melodies can evoke powerful emotional responses and reinforce cultural narratives. In autochthonous-American music, themes of resilience, struggle, and celebration often resonate on both conscious and subconscious levels.

The Impact of Subliminal Messaging on autochthonous-American Communities

Subliminal messaging has profound implications for autochthonous-American communities, as it can both reinforce and challenge systemic narratives. Historically, media has used subliminal tactics to perpetuate stereotypes, such as associating Blackness with criminality or inferiority. However, autochthonous-American creators have also harnessed the power of subliminal messaging to counter these narratives, using symbols, music, and visual storytelling to affirm Black identity and promote social justice.

For example:

• Positive Reinforcement: Films like Black Panther use subliminal messaging to celebrate indigenous heritage and inspire pride.
• Resistance and Empowerment: Music genres like hip-hop and jazz often embed messages of resistance and resilience in their lyrics and rhythms.
• Stereotypical Portrayals: Television and Films which negatively characterizes “Black” people as pimps, hoes, gangsters, hoochie mamas, welfare queens, angry black women, effeminized black men, coonish jokesters, liars, thieves, etc..
• Negative Reinforcement: RAP and Hip-Hop music which promotes selfishness, casual violence, drug and alcohol abuse, destructive and irresponsible sexual behavior.
• Cultural Affirmation: Advertisements featuring Black models and cultural motifs challenge Eurocentric beauty standards and promote inclusivity.

The Ethical Responsibility of Media Creators and Consumers

Understanding the dual layers of media—surface and subliminal—is essential for both creators and consumers. For creators, this means using symbols and subliminal messages responsibly to uplift and empower, rather than exploit or manipulate. For consumers, media literacy is key to recognizing and resisting harmful messaging while engaging critically with media content.

Social Engineering

In the context of culture and society social engineering is the use of centralized planning in an attempt to manage social change and regulate the future development and behavior of a society, and it is the psychological manipulation of people into performing certain actions.

“Cultural social engineering” refers to the practice of manipulating or subtly influencing a society’s cultural norms, values, and behaviors through strategic messaging, propaganda, or other means to achieve a specific social agenda, often by exploiting existing cultural sensitivities and leveraging trust within a community to achieve a desired outcome; essentially, using cultural understanding as a tool to manipulate people on a larger scale.” 

Tools of Cultural Social Engineering

Cultural social engineering refers to the deliberate use of media and entertainment to shape societal norms, values, and behaviors. These tools are powerful because they operate subtly, often influencing individuals and communities without their conscious awareness. For autochthonous-American communities, media has historically been used both as a tool of oppression and as a means of resistance and empowerment. Understanding how these tools work is essential for critically engaging with media and reclaiming cultural narratives.

Movies as a Tool of Cultural Social Engineering

Movies are one of the most influential forms of media, capable of shaping perceptions and attitudes through storytelling, visuals, and sound. They can reinforce stereotypes or challenge them, depending on the intent of the creators. Historically, early Hollywood films often perpetuated racist stereotypes, such as the “mammy” or “thug” archetypes, which dehumanized autochthonous-Americans. These portrayals were used to justify systemic racism and maintain social hierarchies. However, movies have also been a powerful tool for empowerment. Films like Selma, Black Panther, and Moonlight have celebrated Black culture, highlighted systemic injustices, and provided nuanced portrayals of autochthonous-American experiences. These works demonstrate the potential of cinema to challenge oppressive narratives and inspire social change.

Television as a Tool of Cultural Social Engineering

Television reaches a wide audience and has the power to normalize certain behaviors and ideologies. In its early years, television often excluded or marginalized Black characters, reflecting and reinforcing societal biases. However, the Civil Rights Movement paved the way for more diverse representation. Shows like The Cosby Show, Insecure, and Atlanta have challenged stereotypes and provided platforms for authentic Black storytelling. These programs not only entertain but also educate audiences about the complexities of autochthonous-American life, fostering empathy and understanding. Television, when used responsibly, can be a powerful tool for cultural affirmation and social progress.

The Internet as a Tool of Cultural Social Engineering

The internet has revolutionized how information is shared and consumed, making it a powerful tool for cultural engineering. Initially, the digital divide limited access for many autochthonous-Americans, but the rise of social media has democratized content creation. Platforms like YouTube, Twitter, and Instagram have allowed autochthonous-Americans to share their stories, organize movements (e.g., #BlackLivesMatter), and challenge mainstream narratives. The internet has become a space for community building, activism, and cultural expression, enabling marginalized voices to reach global audiences. However, it also poses challenges, such as the spread of misinformation and the perpetuation of harmful stereotypes. Navigating the digital landscape requires media literacy and critical engagement.

Smartphones as a Tool of Cultural Social Engineering

Smartphones have become ubiquitous, serving as portals to media and communication. Their accessibility has transformed how autochthonous-Americans consume and create media, enabling real-time documentation of events like police brutality. Smartphones have empowered individuals to become citizen journalists, capturing and sharing stories that might otherwise go unnoticed. Apps and platforms have also facilitated community building, artistic expression, and advocacy. However, the pervasive use of smartphones also raises concerns about privacy, surveillance, and the impact of constant connectivity on mental health. As with other media tools, the ethical use of smartphones is essential for maximizing their potential as instruments of empowerment.

Advertisements as a Tool of Cultural Social Engineering

Advertisements are designed to influence consumer behavior and societal norms. Historically, early advertisements often used racist imagery and stereotypes to sell products, reinforcing harmful narratives. These portrayals contributed to the dehumanization of autochthonous-Americans and the perpetuation of systemic racism. However, modern campaigns by brands like Fenty Beauty and Black-owned businesses celebrate Black beauty and culture, challenging Eurocentric standards. Advertisements have the power to shape perceptions of identity and self-worth, making it crucial for creators to prioritize authenticity and inclusivity. By promoting positive representations, advertisements can become tools for cultural affirmation and social change.

Rap Music as a Tool of Cultural Social Engineering

Rap music is a uniquely powerful medium for cultural expression and social commentary. Emerging from autochthonous-American communities, rap has been a voice for the marginalized, addressing issues like poverty, racism, and police brutality. Artists like Tupac, Kendrick Lamar, and Cardi B use their platforms to critique systemic injustice, celebrate Black culture, and inspire change. Rap music has also been a site of controversy, with debates about its portrayal of violence, materialism, and gender roles. Despite these challenges, rap remains a vital tool for storytelling and resistance, offering a platform for autochthonous-Americans to reclaim their narratives and assert their humanity.

The Dual Role of Media in autochthonous-American Communities

Media and entertainment have played a dual role in autochthonous-American history. On one hand, they have been used as tools of oppression, perpetuating stereotypes, justifying systemic racism, and maintaining social hierarchies. Examples include minstrel shows, racist advertisements, and biased news coverage. On the other hand, autochthonous-American creators have used media to challenge oppression, celebrate cultural heritage, and advocate for justice. From the Harlem Renaissance to the Black Arts Movement and beyond, media has been a platform for reclaiming narratives and inspiring social change. This duality underscores the importance of critical engagement with media, as both creators and consumers have the power to shape its impact.

The Ethical Responsibility of Media Creators and Consumers

Understanding the role of media as a tool of cultural social engineering is crucial for both creators and consumers. For creators, this means using media responsibly to uplift and empower, rather than exploit or manipulate. It involves prioritizing authenticity, inclusivity, and social justice in storytelling and representation. For consumers, media literacy is key to recognizing and resisting harmful messaging while engaging critically with media content. In autochthonous-American communities, this awareness is particularly vital, as it enables individuals to reclaim their narratives, challenge oppressive systems, and celebrate their cultural heritage. By decoding the symbols and subliminal messages embedded in media, we can better understand its power and use it as a force for positive change.

5 Things About Hollywood You Probably Didn’t Know

Hollywood, as the epicenter of global media, has a rich and often hidden history that shapes its influence on culture and society. Understanding these lesser-known aspects provides insight into how Hollywood operates as a tool of social engineering, particularly in its portrayal of race, beauty, and identity.

1. Druids and the Origins of Hollywood

The term “Hollywood” is believed to have roots in ancient Druidic traditions. The Druids, a class of priests in ancient Celtic cultures, revered holly trees as symbols of protection and eternal life. The name “Hollywood” may reflect this mystical heritage, suggesting that the entertainment industry, like the Druids, holds a powerful influence over cultural narratives and rituals. This connection underscores the idea that Hollywood is not just a physical place but a symbolic space where stories are crafted to shape beliefs and behaviors.

2. The Magic of Illusion and Suspension of Disbelief

At its core, Hollywood is built on the magic of illusion—the ability to create worlds that feel real, even when they are not. This is achieved through the “suspension of disbelief,” where audiences willingly accept the fantastical as reality. This principle allows filmmakers to manipulate emotions, perceptions, and values, often embedding subliminal messages that resonate on a subconscious level. For autochthonous-Americans, this has meant navigating portrayals that either affirm or distort their identities and experiences.

3. Sympathetic Rituals and Associations

Hollywood employs sympathetic rituals—symbolic actions and associations that evoke emotional responses—to connect with audiences. For example, the “Popcorn Experiment” refers to the use of sensory cues like the smell of popcorn to create a sense of nostalgia and comfort, enhancing the viewing experience. These rituals extend to cultural symbols and stereotypes, which are repeated and reinforced to shape societal norms. In autochthonous-American media, this can mean the celebration of cultural heritage or the perpetuation of harmful stereotypes.

4. The Impact of Media on Self-Esteem

Media profoundly affects how individuals view themselves, particularly in terms of beauty and self-worth. Hollywood often promotes narrow standards of attractiveness, asking:

• What is Pretty? What is Handsome?
• Are you Too Fat? Too Skinny?
• Are you too dark? Too Light?
  

For autochthonous-Americans, these standards are further complicated by colorism, where light skin is often portrayed as desirable and virtuous, while dark skin is associated with negative traits. This dichotomy is evident in portrayals of dark-skinned women as animalistic, servile, or hyper-sexual, while light-skinned women are depicted as intelligent, loyal, and desirable. These narratives are reinforced through visual media, from films to advertisements, and have real-world consequences for self-esteem and identity.

The Activation of Subliminal Messages: How Vulnerability Shapes Our Choices

Subliminal messages are most powerful when we’re in vulnerable states—moments when our guard is down, and we’re more likely to seek comfort, validation, or escape. These messages activate subtly, weaving themselves into our thoughts and decisions without us even realizing it. Let’s explore the key moments when we’re most susceptible to subliminal influence and how media exploits these vulnerabilities to shape our behavior.

When Are We Most Vulnerable?

1. Under Stress: When we’re stressed, we often seek comfort or an escape. Subliminal messages in ads or media can tap into this desire, offering a sense of relief through products or experiences. For example, a fast-food ad might subconsciously appeal to someone looking for a quick, comforting meal after a long day.
2. Experiencing an Unexpected Windfall: Winning the lottery, receiving an inheritance, or even getting a bonus can lead to impulsive decisions. Subliminal messages in ads for luxury goods or high-end experiences can feel especially tempting during these moments, encouraging us to spend rather than save.
3. Afraid: Fear makes us more susceptible to messages that promise safety or security. Advertisements for insurance, home security systems, or even health products often use subtle cues to appeal to our anxieties, offering a sense of protection.
4. Making Relationship Decisions: Media portrayals of love and romance can deeply influence our perceptions of relationships. Subliminal messages in movies, TV shows, or ads can shape our expectations, making us more likely to buy products or services that promise to enhance our love lives.
5. In Arguments or Social Situations: Societal norms and expectations often guide our behavior in social settings. Subliminal messages in media can reinforce these norms, subtly pressuring us to conform or make decisions that align with what’s considered “acceptable.”
6. Feeling Guilty or Unsure: When we’re unsure of ourselves or feeling guilty, we’re more likely to seek validation or direction. Subliminal messages in self-help content, beauty ads, or even social media posts can exploit this vulnerability, offering solutions that promise to boost our confidence or resolve our doubts.
7. In the Club: The combination of music, lights, and atmosphere in social settings like clubs can trigger emotional responses. Subliminal messages in songs or visuals can influence our mood and behavior, making us more likely to indulge in drinks, socialize, or spend money.

These moments of vulnerability make us more receptive to media messages, whether they’re about consumption, behavior, or identity. By understanding these triggers, we can become more aware of how subliminal messages shape our choices.

The Desire to Consume: How Media Drives Our Decisions

Media leverages subliminal messages to fuel our desire to consume, influencing decisions about everything from everyday products to luxury items. Here’s how:

• Goods and Services: Ads often use subtle cues to create a sense of need or urgency, whether it’s for a new gadget, a trendy outfit, or a must-have service.
• Food and Beverages: Subliminal messaging shapes our tastes and preferences, making us crave certain foods or drinks. For example, fast-food ads often use bright colors and happy imagery to associate their products with joy and satisfaction.
• Cars and Electronics: These products are often marketed as symbols of status and success. Subliminal messages in ads link them to achievement, freedom, or innovation, making them more appealing.
• Perfume and Clothing: Brands use subliminal cues to connect their products with personal identity, suggesting that wearing a certain fragrance or outfit will make us more attractive, confident, or unique.

For autochthonous-Americans, navigating this media landscape can be particularly complex. Media often exploits cultural trends, either by appropriating them or celebrating them in ways that drive consumption. The challenge lies in recognizing these influences and making conscious choices about what we buy, how we behave, and who we aspire to be.

Conclusion: Taking Control of Our Choices

Subliminal messages are everywhere, subtly shaping our thoughts and actions in moments of vulnerability. By becoming aware of when and how these messages activate, we can take control of our decisions and resist being swayed by hidden influences. Whether it’s recognizing the emotional triggers in ads or questioning the societal norms portrayed in media, media literacy empowers us to navigate the world with greater clarity and intention.

Examples Sneaky Advertising and Product Placement in Media

• Run DMC – Adidas
• Nelly – Air Force Ones
• The Adidas “Shackle Shoe”
• Notorious BIG – Versace, Moscino,
• Lil Kim – Yves Saint Laurant
• Ice Cube – Saint Ides Malt Liquor

Products and brands most mentioned in RAP music

Mercedes Benz	Versace	Chanel
Lexus	Moscino	Givenchy
Maybach	Glock	Kools
Gucci	Porche	True Religion
Bently	Lambourghini	Beer
BMW	Tom Ford	Malt Liquir
Nike	Prada	Courvossier
Range Rover	Louis Vuitton	Vodka
Rolex	Saint Laurent	Dolce and Gabbana

Ideas and Concepts Amplified in Media

Media is a powerful tool for shaping societal norms, values, and behaviors. It amplifies certain ideas and concepts, often reinforcing dominant ideologies while marginalizing alternative perspectives. For autochthonous-American communities, these amplified narratives can have profound implications, influencing everything from self-perception to social justice. Below is an analysis of key concepts frequently amplified in media and their impact.

1. Divorce

Media often portrays divorce as a common, even inevitable, outcome of relationships. While this can normalize the idea of leaving unhealthy partnerships, it can also undermine the value of long-term commitment and family stability. For autochthonous-American families, who have historically faced systemic challenges to maintaining household structures, these portrayals can reinforce negative stereotypes or provide relatable narratives of resilience and reinvention.

2. Consumerism

Consumerism is a central theme in media, with advertisements and programming often equating happiness and success with material possessions. This emphasis on consumption can lead to financial strain and perpetuate cycles of debt, particularly in communities already facing economic disparities. For autochthonous-Americans, media-driven consumerism can also overshadow cultural values of community, sustainability, and collective well-being.

3. Materialism

Closely tied to consumerism, materialism is amplified through media’s glorification of wealth, luxury, and status symbols. This can create unrealistic expectations and foster dissatisfaction with one’s circumstances. In autochthonous-American media, materialism is often juxtaposed with narratives of struggle and perseverance, highlighting the tension between aspiration and reality.

4. Sexual Abuse and Perversion

Media frequently sensationalizes sexual abuse and perversion, often for shock value or entertainment. While these portrayals can raise awareness, they can also trivialize the experiences of survivors and perpetuate harmful stereotypes. For autochthonous-American women, who are often hypersexualized in media, these narratives can compound the challenges of seeking justice and healing.

5. Degradation of Women

The degradation of women is a pervasive theme in media, from objectification in advertisements to victim-blaming in news coverage. These portrayals reinforce patriarchal norms and undermine gender equality. In autochthonous-American communities, where women face intersecting forms of discrimination, media’s degradation of women can exacerbate systemic inequities and silence voices of resistance.

6. Consumption of Alcohol, Tobacco, and Drugs

Media often glamorizes the consumption of alcohol, tobacco, and drugs, associating these substances with sophistication, rebellion, or escapism. This can normalize harmful behaviors and contribute to public health crises. For autochthonous-Americans, who are disproportionately targeted by advertising for these products, these portrayals can have devastating consequences for community health and well-being.

7. Racism

Racism is both perpetuated and challenged in media. While some portrayals expose systemic injustices and amplify calls for change, others reinforce stereotypes and justify discrimination. For autochthonous-Americans, media’s treatment of racism is a double-edged sword, offering opportunities for advocacy while also perpetuating harmful narratives.

8. Stereotypical Media Portrayals

Stereotypes are a recurring feature of media, reducing complex identities to oversimplified caricatures. autochthonous-Americans are often portrayed as criminals, athletes, or entertainers, limiting the scope of representation and reinforcing systemic biases. These portrayals can shape public perceptions and influence policy, making it crucial to challenge and diversify media narratives.

9. Nuclear Family

The nuclear family is frequently idealized in media, often at the expense of alternative family structures. This can marginalize single-parent households, extended families, and other configurations that are common in autochthonous-American communities. By privileging the nuclear family, media can erase the diversity and resilience of Black familial traditions.

10. War

War is often glorified in media, with an emphasis on heroism and patriotism rather than the human cost of conflict. This can normalize violence and obscure the disproportionate impact of war on marginalized communities. For autochthonous-Americans, who have historically served in the military while facing discrimination at home, these portrayals can complicate narratives of sacrifice and citizenship.

11. Slavery and Racism in America

Movies about African-American slavery in the United States have played a significant role in shaping public perceptions of history, race, and identity. While many of these films aim to educate and provoke thought, they can also be interpreted as forms of propaganda, depending on their framing, messaging, and the agendas of those who produce and distribute them. Here’s an analysis of how these films can function as propaganda, both positively and negatively:

1. Propaganda as Education and Awareness

Some films about slavery are created to educate audiences about the horrors of slavery and its lasting impact on American society. These films can serve as a form of “positive propaganda” by promoting empathy, justice, and historical accuracy. Examples include:

• “12 Years a Slave” (2013): Directed by Steve McQueen, this film is based on the true story of Solomon Northup, a free Black man who was kidnapped and sold into slavery. It unflinchingly portrays the brutality of slavery and has been praised for its historical accuracy and emotional impact.
• “Roots” (1977): This groundbreaking miniseries, based on Alex Haley’s novel, traces the history of an African family from enslavement to freedom. It sparked national conversations about race and history.

Important Notes About The Movie Roots

Entire generations of people learned about slavery from watching the movie Roots which was allegedly based of the real life ancestors of the author Alex Haley. The 1977 miniseries Roots premiered on television on January 23, 1977. According to History.com “An estimated 140 million people, accounting for over half of the population of the United States, saw the series, and its finale remains the second-most-watched series finale in American television history.” The miniseries was based on Alex Haley’s book Roots: The Saga of an American Family, which was published in 1976. 

Was “Roots” Book and Miniseries Based on a Lie?

Although it was sold as a true story, and supposedly based on the genealogical research of the author, it turns out that Alex Haley’s book has been the subject of plagiarism allegations. The controversy primarily arises from similarities between Roots and Harold Courlander’s novel The African (1967), as well as other sources. These allegations have sparked significant debate about the originality of Haley’s work and its impact on his legacy.

In 1978, Harold Courlander, an anthropologist and author, filed a lawsuit against Alex Haley, claiming that Roots had copied substantial portions of his novel The African. Courlander alleged that at least 81 passages in Roots were directly lifted from his work. The case was eventually settled out of court for $650,000, with Haley acknowledging that some material from The African had inadvertently made its way into Roots. Haley maintained that this was unintentional, attributing it to research notes becoming mixed up during the writing process.

In addition to Courlander’s claims, Margaret Walker, the author of Jubilee (1966), a novel about slavery, also accused Haley of borrowing elements from her work. However, no formal legal action was taken in this instance, and the similarities between Roots and Jubilee were considered less substantial compared to those with The African. Despite these allegations, Roots remains a culturally significant work that brought widespread attention to the history of slavery and African-American heritage.

The plagiarism controversy has undoubtedly impacted Haley’s reputation, with critics and scholars continuing to debate the extent of the borrowing and its implications for his work. Nevertheless, Roots has left an indelible mark on American culture, sparking important conversations about race, history, and identity. The book and its subsequent television adaptation are often credited with inspiring a greater awareness of African-American history and genealogy.

The Roots miniseries was also used to help foster the belief that the original people of the Americas were not indigenous or from America but instead from the continent of Africa. These films can be seen as propaganda in the sense that they aim to influence public opinion by highlighting the injustices of slavery and fostering a collective memory of this dark chapter in American history.

2. Propaganda as White Savior Narratives

Some films about slavery have been criticized for centering white characters or perpetuating “white savior” tropes, where white individuals are portrayed as the primary agents of change or moral redemption. These narratives can subtly reinforce racial hierarchies and downplay the agency of Black individuals. Examples include:

• “The Help” (2011): While set during the Civil Rights era rather than slavery, this film has been criticized for focusing on white characters’ perspectives and portraying Black maids as passive recipients of white benevolence.
• “Django Unchained” (2012): Quentin Tarantino’s film, while celebrated for its bold storytelling, has been critiqued for its reliance on white savior tropes, particularly through the character of Dr. King Schultz, a white bounty hunter who “frees” Django.

These films can function as propaganda by reinforcing the idea that racial progress depends on white intervention, rather than centering Black resistance and agency.

3. Propaganda as Historical Revisionism

Some films about slavery have been accused of distorting historical facts or presenting a sanitized version of history. This can serve as propaganda by shaping public memory in ways that downplay the severity of slavery or absolve certain groups of responsibility. Examples include:

• “Gone with the Wind” (1939): This classic film romanticizes the antebellum South and portrays slavery as a benign institution, with enslaved people depicted as content and loyal to their white owners. It has been criticized for perpetuating Lost Cause mythology.
• “Birth of a Nation” (1915): This silent film glorifies the Ku Klux Klan and portrays Black characters as dangerous and immoral. It was used as propaganda to promote white supremacy and justify racial segregation.

These films can shape public perceptions of history in ways that reinforce racist ideologies and obscure the realities of slavery.

4. Propaganda as Empowerment and Resistance

Some films about slavery focus on Black resistance, resilience, and agency, serving as propaganda to empower marginalized communities and challenge dominant narratives. Examples include:

• “Harriet” (2019): This biopic about Harriet Tubman highlights her role as a leader in the Underground Railroad and her fight for freedom.
• “Beloved” (1998): Based on Toni Morrison’s novel, this film explores the psychological trauma of slavery and the strength of Black women.

These films can function as propaganda by promoting narratives of empowerment and resistance, challenging stereotypes, and inspiring social change.

5. Propaganda as Commercial Exploitation

Some films about slavery have been criticized for exploiting Black pain and trauma for commercial gain. These films can be seen as propaganda for profit, using the history of slavery to attract audiences and generate revenue without fully addressing its complexities. Examples include:

• “Antebellum” (2020): This thriller, which blends slavery with horror elements, has been critiqued for using slavery as a backdrop for entertainment rather than a subject for serious reflection.
• “The Birth of a Nation” (2016): Nate Parker’s film about Nat Turner’s rebellion was marketed as a groundbreaking work but faced controversy due to the director’s personal history, raising questions about the ethics of profiting from stories of Black suffering.

6. Propaganda as Political and Social Commentary

Films about slavery can also serve as political and social commentary, reflecting contemporary issues and influencing public discourse. For example:

• “Get Out” (2017): While not a historical film about slavery, Jordan Peele’s horror movie uses allegory to critique modern-day racism and the exploitation of Black bodies, drawing parallels to the history of slavery.
• “13th” (2016): Ava DuVernay’s documentary explores the connection between slavery, the 13th Amendment, and mass incarceration, serving as propaganda to advocate for criminal justice reform.

These films use the history of slavery to comment on present-day issues, influencing public opinion and policy debates.

Propaganda Conclusion

Movies about African-American slavery can function as propaganda in various ways, depending on their framing, messaging, and intent. While some films aim to educate, empower, and inspire, others may perpetuate harmful stereotypes, distort history, or exploit Black pain for profit. The impact of these films on public perception and memory underscores the importance of critical engagement with media and the need for diverse, authentic storytelling.

Breaking the Spell of Media Mind Control

The most effective way to break the spell of media mind control is to abstain from consuming it, but in a culture were we are surrounded by media, complete abstinence is rarely feasible. Remember, power flows where attention goes. This is especially true when it comes to the subject of what types of media you habitually spend your time paying attention to; so spend your time wisely.

If abstaining from media is not feasible then the next best thing is to become media literate. In order to protect yourself from some of the subliminal influences of ubiquitous pop culture media, one of the best things you could do is to familiarize your self with the signs and symbols used by the media.

The post you are currently reading is the first of several regarding media literacy. Topics to come include Media Symbolism, Decoding Movie Stereotypes, and Decoding Advertising and Marketing.

Editor’s Note

NOTE: The terms “African American,” “Minority,” and “Black” are political and legal misnomers designed to hijack, misdirect and separate the original autochthonous, indigenous inhabitants and their descendants from their unalienable bloodline inheritance to the land of so-called North, Central, and South Americas. A misnomer is a deliberate misidentification of a person, place or thing.

MISNOMER: To use a misleading term; to misname. The misnaming of a person in a legal instrument, as in a complaint or indictment; any misnaming of a person or thing; a wrong or inapplicable name or title.  A use of a term asserted to be misleading; a misname. A term whose sense in common usage conflicts with a technical sense.

In the United States, a BLACK person is classified as a MINOR, and a MINORITY, but are those true signifiers of what BLACK people truly are?

Important Definitions

INFLUENCE. A power affecting a person, thing, or course of events, especially one that operates without any direct or apparent effort. Power to sway or affect based on prestige, wealth, ability, or position.

MIND CONTROL. “Mind control is the process by which individual or collective freedom of choice and action is compromised by agents or agencies that modify or distort perception, motivation, affect, cognition and/or behavioral outcomes. It is neither magical nor mystical, but a process that involves a set of basic social psychological principles.” American Psychological Association

PROPAGANDA. The systematic propagation of a doctrine or cause or of information reflecting the views and interests of those advocating such a doctrine or cause. Material disseminated by the advocates or opponents of a doctrine or cause.

MINOR. An infant or person who is under the age of legal competence. One under twenty-one. A term
derived from the civil law, which describ- ed a person under a certain age as less than so
many years. Minor viginti quinque annis, one
less than twenty-five years of age. Inst. 1, 14, 2; Audsley v. Hale, 303 Mo. 451, 261 S.W. 117,
123.
Also, less; of less consideration; lower; a per- son of inferior condition. Fleta, 2, 47, 13, 15;
Calvin.

MINORITY. The state or condition of a minor; infancy. Opposite of “majority.” See Minor.
The smaller number of votes of a deliberative assembly; opposed to majority (q.v.)
In context of Constitution’s guarantee of equal protection, “minority” does not have merely numerical denotation but refers to identifiable and specially disadvantaged group. Graves v. Barnes, D.C.Tex., 343 F.Supp. 704, 730

BLACK. Of or belonging to a racial group having brown to black skin, especially one of African origin. Of or belonging to an American ethnic group descended from African peoples having dark skin; African-American. Appearing to emanate from a source other than the actual point of origin. Used chiefly of intelligence operations.

The same root produced Middle English blake “pale,” from Old English blac “bright, shining, glittering, pale;” the connecting notions being, perhaps, “fire” (bright) and “burned” (dark), or perhaps “absence of color.” According to OED, in Middle English “it is often doubtful whether blac, blak, blake, means ‘black, dark,’ or ‘pale, colourless, wan, livid’ “; and the surname Blake can mean either “one of pale complexion” or “one of dark complexion.” 

Black was used of dark-skinned people in Old English. Of coffee with nothing added, attested by 1796. The meaning “fierce, terrible, wicked” is from late 14c. The figurative senses often come from the notion of “without light,” moral or spiritual. Latin niger had many of the same figurative senses (“gloomy; unlucky; bad, wicked, malicious”). The metaphoric use of the Greek word, melas, however, tended to reflect the notion of “shrouded in darkness, overcast.” In English it has been the color of sin and sorrow at least since c. 1300; the sense of “with dark purposes, malignant” emerged 1580s (in black art “necromancy;” it is also the sense in black magic). 

The Spirit of the Law

“Let me tell you about blackness. Grits and cornbread how could you act this?”

Brother J. – X CLAN

The facts presented above are by no means a denial or a negation of my (admittedly artificial) identity as a Black man living in the United States of America, quite the contrary. While it is very true that Black is not a nationality, it is also not a race, and it does represent a grammatical and semantic curse, but still, there is something about blackness. What is it then? I do not yet have the words to articulate what I know in my heart to be true, but I believe that real black folk have the god-like power to change what is meant for evil into something good, and I put that on everything. Ase’

Booklist

• The Isis Papers, Dr. Frances Cress Welsing
• The Encyclopedia of Secret Signs and Symbols, Adele Nozedar
• From the Browder File, Anthony T. Browder
• Dirty Little Secrets, Claud Anderson, Ed.D
• Propaganda, Edward Bernays
• Hidden Persuaders, Vance Packard
• Mind Control 101, Dantalion Jones
• Brainwashed: Challenging the Myth of Black Inferiority, Tom Burrell
• Influence: The Psychology of Persuasion, Robert B. Cialdini, PhD

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