Culture is the open expression of a nations creative spirit. But as shall be speculated here, the direction of that culture, since the middle of the 20th century until today, has been driven clandestinely, and from sources the public still largely remains unaware.

Could CIA have used modern art as a weapon ?

THE ‘LONG LEASH’

The answer, provided by documents available through freedom of information, is a resounding yes! Before the ‘cold war’ of the last century, an ideological struggle between the US and USSR, beginning soon after World War 2, the upstart agency was then dismayed at the growing influence of communism, not only in Hollywood, but in the modern artistic community in general.

That many of the artists were ex-communists themselves, was seen as an ideological advantage to be exploited over the rival communist regime that had to be exploited. This was done primarily to hold up the idea of cultural freedom and supremacy over the more inferior and creatively stagnant Soviet art. This policy of modern art promotion was clandestinely brought about in a program termed the ‘long leash, which provided funding for modern art projects through various ‘foundations’ set up by major industrialists like the Rockefeller, Vanderbilt, and Astor families. These prominent families are all inextricably linked to the Crown Temple in London, as well as intermarried with many of Europe’s royal bloodlines. Through an operation called Mockingbird, CIA controlled over 800 newspapers, as well as holding sway over the major television and radio networks, making the promotion of this particular brand of modern art immediately and widely successful.

The media sorcerers and intelligence agencies, specifically CIA, were not only synonymous then, this scenario remains intact until this day. To perhaps illustrate the relationship between art and CIA more clearly, this ‘long leash’ program, in coordination with Mockingbird, was a concerted effort to unite writers, musicians, and artists of all stripes, in order to demonstrate the West represented a bastion of cultural and intellectual freedom, as opposed to the Soviet system, which was comparatively regimented. It wasn’t as if there existed no opposition to this ongoing program. Both Congress and President Harry Truman, right from the outset of the agency’s program in the late 1940’s to early 1950’s, were deeply opposed to its funding. This is the reason given for CIA covert maneuvers. Ironically, the agency found itself in the position of encouraging cultural openness from the shadows. Thus, unknown artists like Jackson Pollock, became household names, along with writers then languishing in absolute obscurity like Steven Spender. This artistic transformation, caused more than a bit of cultural dissonance between middle American traditional tastes, and that of more high brow dispositions more commonly associated with metropolitan New York’s Fifth Avenue.

In fact, never had the prevailing cultural tastes of the public, and nihilist philosophy seemingly inherent in the newly  emerging abstract art  forms, been more sharply drawn. And yet, abstract expressions, increasingly throughout the 1950’s and 60’s, became increasingly commonplace, noticeable in mainstream magazines and television commercials. But, incremental and repetitive demonstration eventually accustomed the public at large to this cultural dissonance. So much so, that by the 1970’s, it can be argued the public no longer visibly flinched when subjected to repeated public demonstrations of abstract expression.

THE COLD WAR WAS A HOAX

The ultimate secret kept from the public, is that Crown Temple bankers, ruling over both US and USSR by virtue of their debt based pyramidal economic system deliberately schemed to subvert all private and public institutions in the West, including art and culture. While on the one hand appearing to fight against communism, CIA was secretly promoting collectivism. In essence, the cold war was merely an ideological smokescreen, secretly bringing forth what it purported to be endeavoring to destroy. Communism, as an ideological construct, is merely a wafer thin veil. Peering beneath this transparent facade, one can easily observe communism to be nothing more than monopoly capitalism in disguise-collectivism donned in democracy’s red, white, and blue cloak.

Americans may think they are free, but they are in fact tax slaves imprisoned within the debt based economic gulag conceived by the Crown Temple bankers in London.

During this ideological charade dubbed the ‘cold war’, tens of millions of American tax dollars were being diverted and funneled into a program wittingly designed to destroy American art culture. Meanwhile, respected figures in the national media, both in television and radio, were actively recruited and utilized by CIA to herald the arrival of this new degenerate art form. Even President Truman, albeit renowned for a conservative temperament, cast volatile aspersions during a private gallery tour at the white house, featuring some of the new artistic movement’s most noted luminaries.

One could accuse this blog post as a mistaken plunge into high brow pomposity. So be it!  In the last few decades alone, art and culture, both high and low, but particularly the former, have been purposefully destroyed by the media sorcerers. But as always, there is a method to their insane brand of madness. The true leaders of this planet, sitting on their thrones of the mighty, in fact do not care about cultural enrichment, only domination of trade markets to bolster their lofty positions. From objective remove, dare to delve back into the past, before the beginning of the last century, and one can readily observe, the  gradual deterioration of art and culture into utter bankruptcy. Once again, with exhaustive research, one will find this ruination to have been perpetrated, not by accident, but by deceptive calculation. The Crown Temple bankers, the true rulers of America and the world, have and will continue, to clandestinely plot the destiny of mankind. History, one will eventually find, is scripted well in advance. Has one never wondered, when local and federal governments call for budget cuts to the public school systems, why music and the arts are always the first to feel the brunt of the budgetary hatchet? Has one never wondered, when visiting the metropolitan museums, why the variety of ‘art’ classified as ‘abstract’ and ‘modern’ is more prominently displayed, than that of classical antiquity? To answer these pertinent questions, a more thorough examination researching the deliberate collusion between CIA and the bankers of the Crown Temple shall have to be undertaken.

The speculative answers to these questions, and perhaps more, shall be forthcoming  in the next blog post. Did CIA embark upon a well hidden program to destroy American art culture? Stay tuned, for Part II!

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