August 16, 2018
Operation Mockingbird, CIA Media Control Program
CIA Funding and Manipulation of the U.S. News Media
Operation Mockingbird was a secret Central Intelligence Agency campaign to influence domestic and foreign media beginning in the 1950s.
According to the Congress report published in 1976:
“The CIA currently maintains a network of several hundred foreign individuals around the world who provide intelligence for the CIA and at times attempt to influence opinion through the use of covert propaganda. These individuals provide the CIA with direct access to a large number of newspapers and periodicals, scores of press services and news agencies, radio and television stations, commercial book publishers, and other foreign media outlets.”
Senator Frank Church argued that misinforming the world cost American taxpayers an estimated $265 million a year.
In 1948, Frank Wisner was appointed director of the Office of Special Projects (OSP). Soon afterwards OSP was renamed the Office of Policy Coordination (OPC). This became the espionage and counter-intelligence branch of the Central Intelligence Agency. Wisner was told to create an organization that concentrated on “propaganda, economic warfare; preventive direct action, including sabotage, anti-sabotage, demolition and evacuation measures; subversion against hostile states, including assistance to underground resistance groups, and support of indigenous anti-Communist elements in threatened countries of the free world.”
Later that year Wisner established Mockingbird, a program to influence the domestic and foreign media. Wisner recruited Philip Graham from The Washington Post to run the project within the industry. According to Deborah Davis in Katharine the Great; “By the early 1950s, Wisner ‘owned’ respected members of The New York Times, Newsweek, CBS and other communications vehicles.”
In 1951, Allen W. Dulles persuaded Cord Meyer to join the CIA. However, there is evidence that he was recruited several years earlier and had been spying on the liberal organizations he had been a member of in the later 1940s. According to Deborah Davis, Meyer became Mockingbird’s “principal operative.”
In 1977, Rolling Stone alleged that one of the most important journalists under the control of Operation Mockingbird was Joseph Alsop, whose articles appeared in over 300 different newspapers. Other journalists alleged by Rolling Stone Magazine to have been willing to promote the views of the CIA included Stewart Alsop (New York Herald Tribune), Ben Bradlee (Newsweek), James Reston (New York Times), Charles Douglas Jackson (Time Magazine), Walter Pincus (Washington Post), William C. Baggs (The Miami News), Herb Gold (The Miami News) and Charles Bartlett (Chattanooga Times). According to Nina Burleigh (A Very Private Woman), these journalists sometimes wrote articles that were commissioned by Frank Wisner. The CIA also provided them with classified information to help them with their work.
After 1953, the network was overseen by Allen W. Dulles, director of the Central Intelligence Agency. By this time Operation Mockingbird had a major influence over 25 newspapers and wire agencies. These organizations were run by people with well-known right-wing views such as William Paley (CBS), Henry Luce (Time and Life Magazine), Arthur Hays Sulzberger (New York Times), Alfred Friendly (managing editor of the Washington Post), Jerry O’Leary (Washington Star), Hal Hendrix (Miami News), Barry Bingham, Sr., (Louisville Courier-Journal), James Copley (Copley News Services) and Joseph Harrison (Christian Science Monitor).
The Office of Policy Coordination (OPC) was funded by siphoning of funds intended for the Marshall Plan. Some of this money was used to bribe journalists and publishers. Frank Wisner was constantly looking for ways to help convince the public of the dangers of communism. In 1954, Wisner arranged for the funding of the Hollywood production of Animal Farm, the animated allegory based on the book written by George Orwell.
According to Alex Constantine (Mockingbird: The Subversion Of The Free Press By The CIA), in the 1950s, “some 3,000 salaried and contract CIA employees were eventually engaged in propaganda efforts”. Wisner was also able to restrict newspapers from reporting about certain events. For example, the CIA plots to overthrow the governments of Iran (See: Operation Ajax) and Guatemala (See: Operation PBSUCCESS).
Video courtesy of Hajduk28
Operation Mockingbird: The CIA and the Media
Please visit: http://www.pacificaradioarchives.org/ – https://archive.org/details/@altviews… – For more on the CIA and the Media: https://www.youtube.com/watch?v=rrY93… – This is a Pacifica Radio ‘Open Journal’ episode concerning reports of the CIA employing newsmen for information gathering and dissemination, including CIA director William Colby’s testimony before the House on Intelligence Commission on utilizing foreign news agencies for planting false stories. Episode begins with Robert Krulwich’s report, which includes a speech by journalist Stuart Loory on the three dozen reporters discovered on the CIA’s payroll. Broadcast on KPFK in 1975.
The preservation of these tapes was funded in part by a grant from the National Endowment for the Arts and by listeners of Pacifica Radio in 2010. Preservation services provided by George Blood Audio and Video.
Video courtesy of Our Hidden History
The Secret CIA Campaign to Influence Culture: Covert Cultural Operations (2000)
In addition to being a political and economic battle, the confrontation between the United States and the Soviet Union was a clash of cultures. About the book: https://www.amazon.com/gp/product/159…
Communist party leaders depicted the United States as a cultural black hole and cited their own significant culture as evidence that they were the inheritors of the European Enlightenment (Wilford 100). Americans, on the other hand accused the Soviets of “disregarding the inherent value of culture” and subjugating art to the controlling policies of a totalitarian political system. The United States saw itself as being saddled with the responsibility of preserving and fostering the best cultural traditions of western civilization, as many European artists sought refuge in the United States before, during, and after World War II (Wilford 101). Europe and European Universities turned out to be in the epicenter of the Cultural Cold War.
In 1950, the Central Intelligence Agency (CIA) surreptitiously created the Congress for Cultural Freedom (CCF) to counter the Cominform’s “peace offensive”(Wilford 101). The Congress had “offices in thirty-five countries, employed dozens of personnel, published over twenty prestige magazines, held art exhibitions, owned a news and features service, organized high-profile international conferences, and rewarded musicians and artists with prizes and public performances” at its peak (Saunders 2000). The intent of these endeavors was to “showcase” US and European high culture, including not just musical works but paintings, ballets, and other artistic avenues, for the benefit of neutralist foreign intellectuals (Wilford 102).
Many US government organizations used classical symphonies, Broadway musicals, and jazz performances (including musicians such as Dizzy Gillespie) in attempts to persuade audiences worldwide America was a cradle for the growth of music (Wilford 108-109). The CIA and, in turn the CCF, displayed reluctance to patronize America’s musical avant-garde, experimental, including artists such as Milton Babbitt and John Cage. The CCF took a more conservative approach, as outlined under its General Secretary, Nicolas Nabokov, and concentrated its efforts on presenting older European works that had been banned by the Communist Party (Wilford 109).
In 1952, the CCF sponsored the “Festival of Twentieth-Century Masterpieces of Modern Arts” in Paris. Over the next thirty days, the festival hosted nine separate orchestras which performed works by over 70 composers, many of whom had been dismissed by communist critics as “degenerate” and “sterile,”; included in this group were composers such as Dmitri Shostakovich and Claude Debussy (Wilford 109). The festival opened with a performance of Stravinsky’s The Rite of Spring, as performed by the Boston Symphony Orchestra (109). Thomas Braden, a senior member of the CIA said: “The Boston Symphony Orchestra won more acclaim for the US in Paris than John Foster Dulles or Dwight D. Eisenhower could have brought with a hundred speeches” (Wilford 110)
The CIA in particular utilized a wide range of musical genres, including Broadway musicals, and even the jazz of Dizzy Gillespie, to convince music enthusiasts across the globe that the U.S. was committed to the musical arts as much as they were to the literary and visual arts. Under the leadership of Nabokov, the CCF organized impressive musical events that were anti-communist in nature, transporting America’s prime musical talents to Berlin, Paris, and London to provide a steady series of performances and festivals. In order to promote cooperation between artists and the CCF, and thus extend their ideals, the CCF provided financial aid to artists in need of monetary assistance.
However, the CCF failed to offer much support for classical music associated with the likes of Bach, Mozart, and Beethoven because it was deemed an “authoritarian” tool of Soviet communism and wartime German and Italian fascism. The CCF also distanced itself from experimental musical avant-garde artists such as Milton Babbit and John Cage, preferring to focus on earlier European works that had been banned or condemned as “formalist” by Soviet authorities.
During the Cold War, Louis Armstrong was promoted around the world as a symbol of US culture, racial progress, and foreign policy. It was during the Jim Crow Era that Armstrong was appointed a Goodwill Jazz Ambassador, and his job entailed representing the American government’s commitment to advance the liberties of African Americans at home, while also working to endorse the social freedom of those abroad.
Video courtesy of The Film Archives
CIA Hippie Mind Control: Inside Laurel Canyon with Dave McGowan
The hippie movement of the 1960s, which began in Laurel Canyon, Los Angeles and peculiar military and political ties to prominent figures in the scene like Jim Morrison and Frank Zappa are looked at with Weird Scenes Inside the Canyon author Dave McGowan. We also discuss movement pioneer Vito Paulekas, Charles Manson and the Manson Family murders, and the theory that the CIA manufactured the hippie counterculture to undermine the anti war movement, in this uncensored Antidote interview, hosted by Michael Parker.
GUEST BIO and BOOK INFO:
David McGowan was born and raised in Torrance, California, just twenty miles south of Laurel Canyon. He graduated from UCLA with a degree in psychology and has, since 1990, run a small business in the greater Los Angeles area. Currently single, he is the proud father of three daughters. He is also a lifelong music fan who still frequently keeps his radio tuned to classic rock stations. McGowan’s previous books include Programmed to Kill: The Politics of Serial Murder, and Understanding the F-Word: American Fascism and the Politics of Illusion.
Weird Scenes Inside the Canyon
How did an uncanny amount of rock superstars emerge from the rustic Laurel Canyon scene of the mid 60s when the primary music centers of the US at that time were NYC, Nashville, and Detroit? Why were many of these future stars sons and daughters of the military/intelligence complex and extreme privilege who just happened to all arrive in LA at the same time? From the Lizard King Jim Morrison to Frank Zappa, the Mamas and Papas, the Byrds, Crosby, Stills, Nash, and Young, even the Monkees, they all had conspicuous family heritages that did not exactly jive with what would become the free love, anti war soundtrack of a generation. Meanwhile, looming behind these musicians was a dark underbelly of Hollywood stars, young turks, the mob, shadowy intelligence assets, and charmers like little Charlie Manson who everyone liked at first.. How and why did this all happen? And what about that covert military installation on Lookout Mountain? Are you ready to have your rock and roll fantasies challenged? You may never listen to this music the same way ever again.
Editor’s note: Dave McGowan was assassinated by the Deep State.
Video courtesy of TheLipTV2
JFK Secret Societies Speech & Appeal to the Press (full version)
Video courtesy of MrMnmn911
See also: Jews DO control the media