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For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and (((Mark Rothko))) - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.

The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.

The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell's Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra's international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America's anarchic avant-garde movement, Abstract Expressionism.

Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.

The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.

The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover's FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.

Until now there has been no first-hand evidence to prove that this connection was made, but for the first time a former case officer, Donald Jameson, has broken the silence. Yes, he says, the agency saw Abstract Expressionism as an opportunity, and yes, it ran with it.

"Regarding Abstract Expressionism, I'd love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow!" he joked. "But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.

"In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another."

To pursue its underground interest in America's lefty avant-garde, the CIA had to be sure its patronage could not be discovered. "Matters of this sort could only have been done at two or three removes," Mr Jameson explained, "so that there wouldn't be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn't have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps."

This was the "long leash". The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its "fellow travellers" in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.

The Congress for Cultural Freedom also gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting; and no one, the artists included, would be any the wiser.

This organisation put together several exhibitions of Abstract Expressionism during the 1950s. One of the most significant, "The New American Painting", visited every big European city in 1958-59. Other influential shows included "Modern Art in the United States" (1955) and "Masterpieces of the Twentieth Century" (1952).

Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.

"We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."

He confirmed that his division had acted secretly because of the public hostility to the avant-garde: "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."

If this meant playing pope to this century's Michelangelos, well, all the better: "It takes a pope or somebody with a lot of money to recognise art and to support it," Mr Braden said. "And after many centuries people say, 'Oh look! the Sistine Chapel, the most beautiful creation on Earth!' It's a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn't been for the multi-millionaires or the popes, we wouldn't have had the art."

Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.

But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.

* The full story of the CIA and modern art is told in 'Hidden Hands' on Channel 4 next Sunday at 8pm. The first programme in the series is screened tonight. Frances Stonor Saunders is writing a book on the cultural Cold War.

Covert Operation

In 1958 the touring exhibition "The New American Painting", including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius (((Fleischmann))), stepped in with the cash and the show was brought to London.

The money that (((Fleischmann))) provided, however, was not his but the CIA's. It came through a body called the Farfield Foundation, of which (((Fleischmann))) was president, but far from being a millionaire's charitable arm, the foundation was a secret conduit for CIA funds.

So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers' expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. "We would go to somebody in New York who was a well-known rich person and we would say, 'We want to set up a foundation.' We would tell him what we were trying to do and pledge him to secrecy, and he would say, 'Of course I'll do it,' and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device."

Julius (((Fleischmann))) was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York - as did several powerful figures close to the CIA.
this just doesn't include the visual artists.. it also includes much of the bands that existed during the flower power movement.. most notably the grateful dead and very likely the beatles

without this art and music the counterculture could not have happened.

this paved the way for soro-esque world communism
The Grateful Dead was a great vehicle for getting young people to smoke pot and tune out.
it is empirically proven that excessive pot smoking makes people much more likely to sympathize with left wing NWO causes.

how many regular pot smoking conservatives have you met?

i'm not talking about people who puff here or there, regular USERS
(10-08-2016 03:28 AM)EVILYOSHIDA Wrote: [ -> ]it is empirically proven that excessive pot smoking makes people much more likely to sympathize with left wing NWO causes.

how many regular pot smoking conservatives have you met?

i'm not talking about people who puff here or there, regular USERS
That makes no sense. In fact from empirical evidence I'd say pot smokers seem to break free from the conditioning and become conspiracy analysts because cannabis actually allows people to see reality from a different perspective. The key is to smoke sativa strains, not the sleepy indica strains which dominate the ghetto culture and the dispensaries.

If you think the NWO agenda is only liberal you're being naive. Hollywood works hand-in-hand with Pentagon liaisons to put out constant pro-war propaganda. Anheuser-Busch gives millions of dollars a year to the Partnership for a Drug Free America. It was the conservative policies of the Nixon administration's War on Drugs which created the largest prison population on the planet.
(10-08-2016 03:28 AM)EVILYOSHIDA Wrote: [ -> ]it is empirically proven that excessive pot smoking makes people much more likely to sympathize with left wing NWO causes.
Doing anything excessively is a sign that you are mentally unbalanced. Decriminalizing cannabis won't make people do it excessively, in fact the opposite is true. Most of the appeal for young people to drink or use cannabis excessively is due to the fact that it's illegal and they are by nature rebellious to authority, and tend to do what their peers are doing.

Correlation doesn't mean causation. The reason many excessive pot smokers seem to be liberal is because the are depicted in the media as being poor, urban or ethnic minorities, the same groups tend to be monopolized by the democratic party. However, there are plenty of conservative pot smokers in conservative rural America where I live. In fact many of the pot smokers I know here in rural America are voting for Trump, and most of them voted for Ron Paul in 2008 & 2012.
the heart of the agenda is liberal and secular. it does not support traditional family values

it is true many potheads are interested in conspiracy theory but more in terms of intellectual "whoa it's deep" stimulation while high

also, they are more interested in it from the angle of a maxwell or a tsarion ie from an occult angle. many pothead conspiracy theorists actually support the NWO agenda, they just think the wrong people are in charge
I agree that the goal of the cryptocracy is destruction of the family in order to replace it with the state. However what most people think of conservationism is actually liberalism from the Enlightenment. The terms liberal and conservative have become meaningless., and thus serve no purpose.

Someone like Alex Jones is a self-proclaimed "conservative" conspiracy theorist who also claims to be a classical liberal. He's inadvertently or deliberately pushing the NWO agenda when it comes to using divide & conquer, and corralling people back into to authoritarianism & the false left-right paradigm. He's also anti-pot, imagine that. The alt-right and Trump are just one half of the managed dialectic, the SJWs are the other. One is not better than the other, they are false choices set-up by the cryptocracy.

A true traditionalist would realize that the creator wants us to have free will, and to live in balance with nature (spontaneous order, different strengths & weakness of the two genders, etc.) and that all of the plants were created for us to use but not as a crutch.
the worst thing about AJ is his fear mongering and programming helplessness into the people

everytime he had a chance to really do something he failed to do it, he was the perfect guy to break the Sandy Hook stuff into the mainstream and stopped when the case got too hot
A left-brain imbalance (masculine) will often lead to ultra-conservative ideals and a preference for authoritarianism. A right-brain (feminine) imbalance will often lead to ultra-liberal ideals and the suppression of survival instincts. Religious conservatives can have a right-brain imbalance when it comes to certain things, and atheist liberals can have a left-brain imbalance when it comes to certain things. The key is always thinking with your entire brain. Cannabis can actually help people reset if they are stuck in rigid thinking.

I personally only smoke it for a few weeks at a time, then when I feel like I don't need it anymore I will go months without it.

Here's a post David Dees (the semi-famous conspiracy artist) made on facebook the other day. It's perfectly illustrates my point:
Quote:I drank bottles of wine every weekend for about 15 years, only weekends, but then it took a day or two to recover from it, the hangovers were not bad enough to change my habit of Fridays though.

But now I think I actually found something a lot better, and I am stunned. Because when I take it I feel smarter and more interested in art and music, actually I become professional again, my music is extremely well timed and presented, a new confidence has sprung out of me. For many years I have been feeling like I am physically carrying bricks every morning when I wake up. I drag myself up and try to get going and interested again. All that changed 2 weeks ago when took a hit of very strong hash, dripping in THC. Appears it has healing properties, as I understand it, it reconnects brain receptors, whatever that is. All I know is that my IQ just jumped and I feel like I have ton more space in my mind and body. You know, I think my brain definitely needed reconnecting, and my alertness has tripled. I like so many things, I like sounds and smells, and living. And this morning I actually felt good when I woke up. I have no hangover effects from the THC, no grogginess in the least, I feel cleaner and stronger, and when I smoke only one good puff it is effective for 6 hours of thoughfulness, and super abilities on guitar and vocals, without forgetting a single lyric.

I first thought that my newfound powers were only when I was high on it, but now as soon as the effect wears off my energy jumps up and I am completing a lot of things I put off, and making lists of new projects I want to create, and on Sunday I plan to play a major music show using it, which is being recorded and broadcast live on the net. Funny thing, I have zero stress about it all, I am happy it will sound fantastic, and people will be blown away by my new playing ability. Plus when I am singing it is a surreal beautiful emotional aquarium of imagery and possibility. And here's the kicker, I dropped the wine, it slows me down, and this cannabis keeps me energized.

I promise you I thought THC and pot smoking was only for being under a blanket cloud of numbness and disorganization, cluttered house, and apathetic outlook, but instead it is the total opposite for me. Damn! While I am on it things do smooth out, and I do slow down and relax, but as I come off it my mind takes off and gets very busy, which I just love, accomplishing tasks and taking care of business makes me feel very comforted.

Also would like to add here that I have had a serious body complication in the past 25 years when I painted airbrushing for 20 years and inhaled acrylic paint that was dosed with the heavy metal cadmium. I was dying in 1990, you just don't want to know what that is like, I was very thin and could not eat, my pancreas was malfunctioning and I looked like death, but with a massive amount of alternative herbs, and an intense ten year program of diet and food supplements, and RIFE technology I turned it completely around. The damage the cadmium did was to my nervous system, endless tingling and uncomfortable sensations, really ruined my days, but I got used to it, as it never changed. That cool comforted vital body beautiful experience I had a kid was long gone, now I am trapped in a damaged nervous system. But, I coped, and wine seemed to be a great escape for the weekend, but bad after effects.

Then I started helping a friend who has advanced Cancer with finding some cannabis oil for her, that is when I discovered my new medicine.

I started off only doing it alone, but now I am mixing in with people even when my mind is very under the influence, and it is remarkable how I can see everything so clearly, I feel the people so intensely, I see them as so sincere, and I could only hope they can find what I find and feel what I am feeling now. As first I felt like I was guilty and feeling wrong for feeling so different than people around me, but now I let that go and believe that it is the real me they are seeing. Tonight I am going to go out to town to see a folk band play, and plan to partake in the cannabis before I go, and I just know it will be awesome. It has a feeling like being an astronaut and going on a moonwalk, and everything around me becomes important, while I glide through observing. And will enjoy only water for a drink. - dees
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