Tag: cold war

A Costly and Prolonged Cold War Now Seems a Certainty

No one knows how the war in Ukraine will end, but there is one post-war certainty: there will be a prolonged and costly Cold War between the United States and Russia.  In an interview with David Ignatius of the Washington Post, who has been doing the bidding of the Pentagon and the Central Intelligence Agency for several decades, Secretary of State Antony Blinken emphasized the importance of a “long-term goal of deterrence.”  Ignatius took this to mean that the Biden administration will make sure that Russia “should not be able to rest, regroup and reattack.”

Ignatius is joining the likes of such Cold Warriors as former secretary of state Condi Rice, former secretary of defense Bob Gates, journalists such as Max Boot and scholars such as Angela Stent and Leon Aron who believe that Russia’s war is not directed only against Ukraine, but against the larger idea that European states can peacefully cooperate.  Yale historian Timothy Snyder goes further, arguing that the rule of law can have a chance in Russia only if “Russia loses this war,” and that Russia’s defeat will reverse the “trend…towards authoritarianism, with Putinism as a force and a model.”  It is naive to think in terms of “rule of law” coming to Russia.

We have been accustomed to politicians who blithely talk about the “war to end all wars,” but it is unusual to have a distinguished historian argue that the “Ukrainians have given us a chance to turn this century around, a chance for freedom and security that we could not have achieved by our own efforts, no matter who we happen to be.”  Snyder argues that “if Russia loses” it would mark an “end to an era of empire,” marking the “last war fought on the colonial logic that another state and people do not exist.”  According to Snyder, a Ukrainian victory would “teach Beijing that such an offensive operation [against Taiwan] is costly and likely to fail.”  Snyder believes that “this is a once-in-lifetime conjuncture, not to be wasted.”

Keep reading

America’s Perpetual Foreign-Policy Crises

Ever since the federal government was converted from a limited-government republic to a national-security state after World War II, America has lived under a system of ongoing, never-ending, perpetual foreign-policy crises. That’s not a coincidence. The national-security establishment — i.e. the Pentagon, the CIA, and the NSA — need such crises to justify their continued existence and their ever-growing taxpayer-funded largess. 

An interesting aspect of this phenomenon is that oftentimes the crises are ginned up by the national-security establishment itself. Once the crisis materializes, the Pentagon and the CIA play the innocent. “We had nothing to do with ginning up this crisis,” they cry. “We are totally innocent.” 

After the end of the Cold War, the Pentagon and the CIA were desperately in need of a crisis that could replace the Cold War crisis, which they were convinced would last forever. That’s when they began going into the Middle East and killing people. When that massive killing spree, which included killing hundreds of thousands of Iraqi children, ended up producing terrorist blowback, the national-security establishment had its new crisis — terrorism, which replaced communism as America’s big official enemy. 

The “war on terrorism” replaced the Cold War’s “war on communism.” Americans began fearing the terrorists (and the Muslims) almost as much as they feared the Reds. With the new crisis, the national-security establishment, including its army of “defense” contractors, was assured of continued existence and ever-expanding taxpayer-funded largess.

Keep reading

The story of how the CIA conducted secret LSD experiments on unwitting US citizens

After World War II, the possibility of gaining control over a person’s mind became one of the top pursuits for intelligence services. Amid never-ending spy games, the capacity to make someone tell the full truth during an interrogation, or to wipe out a subject’s personality and impose another – perhaps, a controlled one – became quite attractive to secret services.

In 1979, former US State Department officer John Marks published a book called “The Search for the ‘Manchurian Candidate’,” which focused on the CIA’s mind-control experiments and is based on agency documents released under the Freedom of Information Act.

The term ‘Manchurian Candidate’ emerged from a title of a novel by Richard Condon, first published in 1959, which tells the story of a US soldier brainwashed and turned into an assassin by the Communists. Back then, the fear that America’s rivals might use such techniques was not only a fictional fantasy, but a matter of very serious concern.

This is how John Marks describes it: “In 1947 the National Security Act created not only the CIA but also the National Security Council – in sum, the command structure for the Cold War. Wartime [Office of Strategic Services] leaders like William Donovan and Allen Dulles lobbied feverishly for the Act. Officials within the new command structure soon put their fears and their grandiose notions to work. Reacting to the perceived threat, they adopted a ruthless and warlike posture toward anyone they considered an enemy – most especially the Soviet Union. They took it upon themselves to fight communism and things that might lead to communism everywhere in the world.”

Keep reading

The CIA Paid A Magician To Write A Deception Manual During The Cold War

The United States government feared an attack from the USSR during the Cold War. This led it to a host of experimental programs aimed at ensuring the country was prepared for whatever the Soviets threw at them. One such program was Project MK-ULTRA, for which the Central Intelligence Agency (CIA) asked for the assistance of magician John Mulholland.

John Mulholland was born on June 9, 1898. He first began to learn the art of magic as a teenager, with the mentorship of John William Sergeant, the President of the Society of American Magicians. He went on to have a professional career that spanned two decades, during which he worked with small companies and larger stage shows.

Mulholland quickly made a name for himself, running one of the first magic workshops and becoming the editor of the magical trade magazine, The Sphinx. He performed shows in over 40 countries, including some at the White House, and published 10 books about magic.

One of these books was called The Art of Illusion: Magic for Men to Do. Around 100,000 copies were published and distributed among US soldiers serving overseas during World War II.

Keep reading

Media Applaud the New Cold Wars—but Could US Be More Aggressive, Please?

US media are fixin’ for a fight with China, Russia—or both. Commentary on the recent G7 and NATO summits, as well as President Joe Biden’s meeting with Russian President Vladimir Putin, was replete with examples of news outlets alternately praising the Biden administration for ramping up new cold wars with China and Russia, and criticizing it for not being even more aggressive. As it propagandized about the US supposedly fighting for democracy, this coverage betrayed a total indifference to the potential costs of these hostilities.

Keep reading

Nina Kulagina: A Real Psychokinetic Documented By The U.S. Defense Intelligence Agency

It’s quite odd that “paranormal” abilities are, and have been for decades, studied and confirmed at the highest levels of government or what some would consider at levels beyond the government in black budget Special Access Programs, yet brushed off as conspiracy theories, ridiculed, and remain virtually unacknowledged within mainstream academica.  These black budget programs are exempt from standard reporting requirements in the to congress in the United States, as outlined by a 1997 U.S. senate report, and based on my research there are also unacknowledged Special Access Programs that have no oversight at all from the government.

Unfortunately they’ve been studied and used for military and intelligence collection purposes, and have always remained “classified” for “national security” reasons. Developments and discoveries within this black budget world never seem to be brought to light or used for the benefit of humanity. In fact, the United States has a history of government agencies existing in secret for years. The National Security Agency (NSA) was founded in 1952, its existence was hidden until the mid 1960’s. Even more secretive is the National Reconnaissance Office, which was founded in 1960 but remained completely secret for 30 years. Our world today is drenched in secrecy.

From the declassified literature alone, there are many examples documenting people with gifted abilities able to do some extraordinary things. This declassified CIA document and this Air Force teleportation study outlines children with the ability to teleport objects in closed containers from one location to another. The containers were never touched or opened, showing that these children could transport the object through the sealed containers. These experiments were done under double-blind controlled conditions.

Another example documents the “paranormal writing” ability of a little girl, and a woman who is able to gather information about a person from simply holding and touching an object that is/was affiliated with the person in question. Then there is the remote viewing program which yielded significant and repeatable results, according to a paper published in the Journal of Scientific Exploration after the program was declassified. Remote viewing is the ability to describe a remote geographical from another location, regardless of distance and time.

This article looks into a woman by the name of Nina Kulagina. I use “real” in the title because the Defense Intelligence Agency report referenced below refers to her as an “outstanding PK (psychokinesis) psychic.”

Keep reading

Modern art was CIA ‘weapon’

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.

Keep reading

If You Transplant a Human Head, Does Its Consciousness Follow?

BRANDY SCHILLACE SOMETIMES writes fiction, but her new book is not that. Schillace, a medical historian, promises that her Cold War-era tale of a surgeon, neuroscientist, and father of 10 obsessed with transplanting heads is true from start to finish.

Schillace came across the story behind her book, Mr. Humble and Dr. Butcher, somewhat serendipitously: One day, her friend, Cleveland neurologist Michael DeGeorgia, called her to his office. He quietly slid a battered shoebox toward her, inviting her to open it. Schillace obliged, half-worried it might contain a brain. She pulled out a notebook—perhaps from the ‘50s or ‘60s, she says—and started to leaf through it.

“There’s all these strange little notes and stuff about mice and brains and brain slices, and these little flecks,” Schillace says. “I was like, ‘What … what are all these marks?’”

Keep reading

Pentagon School To Focus Half Its Curriculum On China, Esper Announces

The National Defense University is a higher-learning facility run by the Pentagon that offers graduate programs mostly to members of the US military. “I also tasked the military services to make the People’s Liberation Army [China’s military] the pacing threat in our professional schools, programs and training,” the Pentagon chief said.

Esper also warned of the threat China and Russia pose to US global hegemony. “Our strategic competitors China and Russia are attempting to erode our hard-earned gains,” he said.

The former Raytheon lobbyist also touted a new plan to increase the fleet of the US Navy that Esper has dubbed “Battle Force 2045.” The plan calls for the Navy to have a 500 ship fleet by 2045. Currently, the US Navy has just under 300 battle-ready ships.

The Pentagon released its annual report on China’s military in September. The report says China has the world’s largest navy and has “an overall battle force of approximately 350 ships and submarines.”

Despite having more ships, China’s navy is vastly smaller than Washington’s in terms of tonnage. One example of this is the number of aircraft carriers each nation has, with the US having eleven aircraft carriers, while China only has two.

Keep reading

Modern art was CIA ‘weapon’

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.

Keep reading