JRE, 12 February 2025

This interview replays and validates the immense research of Mae Brussell, Lyndon LaRouche, and Dr. Peter Beter.

Of course, not one McLuhan scholar here or in the universe knows that Barrington Nevitt covered this genre of “corruption” in TAKE TODAY: The Executive as Drop Out (1972).

Where do you think the majority of them dropped into?

Marshall McLuhan kept out of this aspect of TAKE TODAY because he didn’t want to reveal his hidden role as Director of the CIA, at the time.

“Government, culture and business are now one.” – Marshall McLuhan, CULTURE IS OUR BUSINESS, 1970, p.16

McLuhan did allow himself one instance of this “obscure” knowledge when he mentioned in a letter to the TORONTO GLOBE AND MAIL in 1970 or so that the US Government considered its citizens as its “enemy” when super-decentralization became the GROUND and money disappeared.

I have clarified this style of pattern-recognition, during my years on CKLN, with my explanation of the Solar Government, and in the subsequent CD, BOB’S MEDIA ECOLOGY SQUARED (1993).

Mike Benz and Joe Rogan are unaware of this pentadic Solar structure behind the “globalist” grievance:

My explanation (see my Memo to Prince Charles – June 4, 1987 – featured in the booklet that came with the CD in BOB’S MEDIA ECOLOGY [1992]) would clear up the “confused” ramblings of Benz.

Also my TINY NOTE CHART (1995) makes a mosaic out of my “explanation” of the various “Governments”).

Note “Governments” in the last sentence:

Here is the larger context from that Memo:

{{ Maybe I should backtrack, retrace, say, from about the time of the invention of the telegraph – 1840. From then until around 1918 the electric telegraph served as the hidden “ground” for the “figure” of such activities as the proliferation globally of the newspaper and steel worlds and the lockdown of National Governments. By “lockdown” I mean a guaranteed environment or fetish for manipulation by politically powerful elites who, at that time, were the content of the newspaper, steam and steel worlds which media, as figures, distract perception from the telegraph as ground. This lockdown process always operates under the cover of a war fought over the obsolete spoils of the bureaucratic positions of the previously powerful elites. Again, between 1840 and 1918 theseobsolete elites were the principalities of the Royal Houses. As these Houses fought to preserve what was instinctively perceived as an increasingly threatened “world-view”, they were helpless to stop the effects of the imploding environment of the telegraph – namely, the collective need to “preserve” and develop the most recent industrial technologies. This development mandated the political necessity for centralized national bureaucracies. But don’t forget – this is all happening as a visible figure inside the actual physical Present of the telegraph environment. Moving along historically, following this model of process pattern-recognition, the next period would be from 1918 to 1945 with the hidden ground being radio, of course, for the visible motorcar, airplane, and movie worlds. Politically, this would effect the lockdown of World Government under the cover of warring national bureaucracies. Makes sense, doesn’t it? It gets even better! From 1945 to 1960, in the visible worlds of nuclear bombs, advertising, public relations and icon-making, politically you have warring world bureaucracies (i.e., “superpowers” and “multinationals”) parallel with the lockdown of the Solar Government – thanks to the hidden Present of television; from 1960 to 1977, conflicting solar bureaucracies while locking down the Universal Government (inner and outer space) via the hidden operations of the computer with the visible worlds of laser beams, genetic engineering, and endless tribal retrievals; from 1977 to 1990, the hologram world is the visible figure amidst clashing universal bureaucracies complemented by Mythic Government lockdown compliments of the satellite surround. “Myth” is a whole culture (or mixed corporate-media) in action as I explained at the beginning of this memo. However, the satellite is an extension and etherealization of a whole culture. Therefore, from 1990 to 2020 we will witness Orphic (Orpheus tuned the whole world) battles of mythic stages (tribal and techno solipsism) to run “cover” for the lockdown of BOBRULE in response to the discontinuous hidden grounds of tiny, diluted “holeopathic” retrievals, “holeopathic” meaning a combination of homeopathy and hologram.

As technological environments interplay within electronic implosion, the watershed is considerable. Since World War Two, urban/suburban sprawl is the result of the road attempting to become the city and the city wanting to be the road. The movie’s content can take on cartoonish nuance, the book’s editorial point of view, the television’s intimate dialogue, the radio’s blare or the newspaper’s epic scope. I’m emphasizing the slant of the genre here. The movie in formal effect is still a movie – the extension of eye, ear and foot. The same various stylings of content will be done by the newspaper, the book, radio, and the cartoon, etc. When a technological form first appears on the scene, it prefers a certain content styling for maximum effect. But when it is displaced by newer technological forms, it is more tolerant of media matings – perhaps, even more desparate. It will latch on to any and every style of clothing as it stands more naked. Of course, the genteel aesthetes of any medium will find these stylistic gyrations quite repugnant. The Underground Press of the Sixties is an example. And surely this would explain why some consider Rap a form of “music”. The users of such contemporary mixed corporate-media multiplicity would find these confusions quite comforting.

What is architecture today? As we seek shelter from the mythic storm of hallucinating media archetypes, any form can offer the warmth of the hearth. City and town planners fail to consider the new achitecture of the highway and the kinetic security it offers to the auto enthusiast harassed incessantly by the tactile overkill of the electric maelstrom, as one example. The modern artist today has to at least feign a strategy of mixed corporate-media programming. The elite managers of our Global Theater consider this all in a day’s work. And the floating, discarnate citizens of this theater must respond 24 hours a day to the massage of this complex sensory programming. The comprehensive artist must be prepared to mime this situation from all points of view – either satirically, joyously, mournfully, or preferably all three. Two examples are Frank Zappa and Lyndon LaRouche, Jr. (Frank was recently overheard discussing changes to downtown Los Angeles with Cheech, and LaRouche is forever running for President of the United States.) The mixed corporate-media artist would mime the sensory/technological massage symbolically. For example, Frank Zappa kinetisizes visual and acoustic effects; Lyndon LaRouche acoustisizes visual and kinetic effects; but Marshall McLuhan tactilizes visual, acoustic and kinetic effects. }}

Bob Dobbs