edit: CIA+bribe trial+Clark/Perle+ Oil = BORAT!

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Re: Keyword Hijacking is real. Mutual Exclusivity is real.

Postby orz » Fri Dec 29, 2006 3:33 pm

Have you read Orwell'sPolitics and the English Language? If not you certainly should. I'm guessing you haven't, otherwise you wouldn't be able to shamelessly write horrible sentances like "This is rewriting history to achieve Orwellification using keyword hijacking." :roll:

Point? None. Right. Next.

:( sigh...

My point is that YOU SHOULD READ IT!!! because it basically covers most of the less insane of your points, but in a way that is coherent and meaningful.

The irony is that, while you're coming from the same place as orwell (talking about the abuse of language for political ends,) the way you express your ideas here actually suffers from the problems with modern english which Orwell describes in the essay.

(not saying my posts are perfect but I do try to keep his 'rules' in mind while writing.)
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Re: Culture Wars.

Postby MinM » Fri Jul 05, 2013 7:56 am

@NitrateDiva: Happy #4thofJuly, all! Here's an unsettling and VERY 1970s short film about patriotism narrated by... yes, Bob Crane: http://youtu.be/Lrlvi0-cC6w

Patriotism (1972 Educational Film) - featuring Bob Crane

In this thrilling, chilling adventure, Bob Crane teaches us how to to be patriotic by having copious amounts of sexy affairs with women, and documenting them...

https://twitter.com/NitrateDiva/status/ ... 4353701888

IanEye » Wed Dec 26, 2007 8:35 pm wrote:
'Rudolph the Red-nosed Reindeer,' the claymation TV special, hit the air in December, 1964, a time when concerns about exposure of Project Paperclip and the Gehlen Organization had CIA scrambling to minimize the potential damage to kid's psyches and gave them absurdities like 'Hogan's Heroes.'

Hugh, you are aware of the Bing Crosby Hollywood Palace Christmas special from 1965, right?

Well, since it’s Christmas time…..









“I see nothing…..”


Hugh Manatee Wins » Fri Dec 19, 2008 2:19 pm wrote:Ah, Bing. His Christmas ain't that white.

He and his brother let the CIA make a fake sex film at their studio to discredit President Sukarno of Indonesia with an actor wearing a rubber mask to impersonate him.

This is the reason for the disinfo decoy story about 'Brice Taylor and Bob Hope' in her book 'Thanks for the Memories.'
Hope and Crosby? Get it?
Poor women, if she isn't just a CIA liar, then she was hypnotized to tell this decoy story, still a victim but also still enabling multiple cover-ups.

1965. American professor David Hoggan is a problem for the CIA because he has been featured in Spiegel magazine and he is the darling of old Nazis in NATO who are connected to the Gehlen Org. and Dealey Plaza and an East German border guard named Egon Schultz is that country's martyr killed by the West in a tunnel escape incident.

So we get 'Hogan's Heroes' and Bing Crosby helps out the CIA again by having the cast on his Christmas special to sugar the US-Nazi connection with holiday cheer in a recreation of the WWI 'Christmas Truce' in the trenches.

Everybody sing! "...uber alles.."


Hugh Manatee Wins » Sat Dec 02, 2006 10:49 am wrote:My examples aside, the plausibility of mass media cultural psy-ops has a historical track record.

So it seems to me that to believe the National Security state would not promote 'programming' that:
>blunts the idealism of youth
>portrays war as inevitable and/or progress
>idealizes authority figures, mostly male
>perpetuates stereotypes to exploit
>keeps citizens hooked as an audience
>sow entertaining disinformation to use up bandwith
........is just not plausible.

Especially given the history of CIA efforts to influence post-WWII Europe with state-sanctioned culture affecting the 'thinking/sharing' middle-class who staff and run social infrastructure.

Would the recruitable masses be left out of Culture War? Of course not.
Despite my young years I could tell something odd was afoot when the TV sitcom 'Hogan's Heroes' had a laugh-track for Nazis. I'd already seen Buchenwald photos.
I recently heard Randi Rhodes joking on Air America Radio that she had learned all she knew about the Geneva Conventions from 'Hogan's Heroes' and all she knew was that "Lebeau could cook."

The history of the CIA-run Congress for Cultural Freedom is informative.



The CIA and the Cultural Cold War Revisited
by James Petras

(book review)-
Frances Stonor Saunders, Who Paid the Piper: The CIA and the Cultural Cold War (London: Granta Books), £20.

This book provides a detailed account of the ways in which the CIA penetrated and influenced a vast array of cultural organizations, through its front groups and via friendly philanthropic organizations like the Ford and Rockefeller Foundations. The author, Frances Stonor Saunders, details how and why the CIA ran cultural congresses, mounted exhibits, and organized concerts. The CIA also published and translated well-known authors who toed the Washington line, sponsored abstract art to counteract art with any social content and, throughout the world, subsidized journals that criticized Marxism, communism, and revolutionary politics and apologized for, or ignored, violent and destructive imperialist U.S. policies. The CIA was able to harness some of the most vocal exponents of intellectual freedom in the West in service of these policies, to the extent that some intellectuals were directly on the CIA payroll. Many were knowingly involved with CIA "projects," and others drifted in and out of its orbit, claiming ignorance of the CIA connection after their CIA sponsors were publicly exposed during the late 1960s and the Vietnam war, after the turn of the political tide to the left.
The CIA's involvement in the cultural life of the United States, Europe, and elsewhere had important long-term consequences. Many intellectuals were rewarded with prestige, public recognition, and research funds precisely for operating within the ideological blinders set by the Agency. Some of the biggest names in philosophy, political ethics, sociology, and art, who gained visibility from CIA-funded conferences and journals, went on to establish the norms and standards for promotion of the new generation, based on the political parameters established by the CIA. Not merit nor skill, but politics—the Washington line—defined "truth" and "excellence" and future chairs in prestigious academic settings, foundations, and museums.
The CIA's cultural campaigns created the prototype for today's seemingly apolitical intellectuals, academics, and artists who are divorced from popular struggles and whose worth rises with their distance from the working classes and their proximity to prestigious foundations. The CIA role model of the successful professional is the ideological gatekeeper, excluding critical intellectuals who write about class struggle, class exploitation and U.S. imperialism—"ideological" not "objective" categories, or so they are told.

The singular lasting, damaging influence of the CIA's Congress of Cultural Freedom crowd was not their specific defenses of U.S. imperialist policies, but their success in imposing on subsequent generations of intellectuals the idea of excluding any sustained discussion of U.S. imperialism from the influential cultural and political media. The issue is not that today's intellectuals or artists may or may not take a progressive position on this or that issue. The problem is the pervasive belief among writers and artists that anti-imperialist social and political expressions should not appear in their music, paintings, and serious writing if they want their work to be considered of substantial artistic merit. The enduring political victory of the CIA was to convince intellectuals that serious and sustained political engagement on the left is incompatible with serious art and scholarship. Today at the opera, theater, and art galleries, as well as in the professional meetings of academics, the Cold War values of the CIA are visible and pervasive: who dares to undress the emperor?
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