FOR MUCH of 2017, my wife and I were living in Canada. Voluntarily. And it was in one city or another that I noticed something. Rainbow crosswalks. We’re talking the sort of colored variety which involves the number 6. LGBTQ likes to deal in shades of 6. Canadians will probably threaten to start a war over this, but I noticed they tend to walk around with their faces slouched towards the ground. And it occurred to me, if you’re going to tell a Canadian how to think, then advertise propaganda below their feet. That’s a distinguishing mark between Americans and our neighbors to the north. In Canada, the government tells its people, “This is our agenda, so obey, aye?” In America, our slave masters’ have historically ruled over proud children, and so, there’s one defining difference. The government has to make everyone think it was their idea.
We’re talking grassroots movements. Americans love grassroots movements. The CIA wants you to believe they’ve attempted to infiltrate every grassroots movement possible. They’ve infiltrated Women’s Lib. They’ve infiltrated Black Lives Matter. They’ve infiltrated the Hippies and LGBTQ. But that’s simply not true. They want you to believe they’ve infiltrated the Civil Rights and Anti-War Movements when the truth of the matter is, they created every mainstream civil movement imaginable and then sold you on the purity of its origin. Rock n’ Roll was not infiltrated by spooks. Jim Morrison was created. The hippies were not infiltrated. The very first hippie was a spook. Even Walt Disney World was created by spooks. Remember when I wrote about the recent beginnings of the modern Flat Earth Movement? Spooks disguised as folk artists started swinging that hammer which Peter, Paul, and Mary once sang about, with the help of YouTube. They raised an army in the hundreds-of-thousands over a very short period, incited war with NASA, and from the look of things, they’ve already shut it down.
Here’s another thing the CIA wants you to simultaneously believe and disbelieve. Abstract Expressionism was their passion project and not their baby. As early as 1995, journalist Frances Stonor Saunders, while writing for The Independent, broke the story. During the Cold War, the CIA employed modern art as a weapon. A weapon against whom, exactly? Soviet Russia, we are told. Most Americans hated abstract expressionism in the 1950’s. It was the work of guys like Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko that made entire generations lean considerately against their chin, while standing upright in an airy disease-free room, and then conclude for their friend, “I could have done that.” But that’s the entire point to the CIA’s confession. The CIA is screwing with your head. You only thought you could create the million-dollar crap you were paying to see because they wanted you to believe you could. Consider it a war tactic.
Frances Stonor Saunders’ story was apparently made possible because former CIA operative Tom Braden claimed he was declassifying his own life’s work. They inserted the former into the narrative for a specific purpose. The reader will not protest the so-called declassification process which is being spun, nor fathom that he or she is reading a media-piece owned by the intelligence community, and is therefore being fooled into submission.Saunders even admits some 800 news-media outlets as CIA controlled. Are we expected to overlook the fact that The Independent is exempt from the intelligence community because of its British ties? Still, Saunders gives so much away in the following paragraph alone that it is difficult knowing where even to begin. Saunders writes:
In 1950, “the International Organizations Division (IOD) was set up under Tom Braden. It was this office which subsidized the animated version of George Orwell’s Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra’s international touring program. 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.”
Mm-hmm, Fodor travel writers. Remember that quaint little Armenian restaurant you visited while on vacation in Istanbul because Fodor’s sold you, first on Turkey, and then on dining? They’re screwing with your head. The menu was put together and cooked by spooks.
According to The Independent, America was discredited from being a “sophisticated, culturally rich democracy,” and this “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.” Is anyone seriously buying how the CIA is spinning this story? The CIA was officially created in 1947, and apparently at the right time, because a crisis existed for every prima donna in America. France didn’t believe Americans were artistic enough. This is tragic indeed. We are further told how the State Department organized and pocketed the cash for an international touring exhibition in 1947 entitled, Advancing American Art, “with the aim of rebutting Soviet suggestions that America was a cultural desert.” The very year the CIA was instituted, they were brought in to save art. Funny thing is, Americans initially hated it.
Agent Braden explains the entire point of the IOD in his own words.
“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.”
The clever declassification here is that Braden is telling you the art world in the United States is little to no different than the Soviet Union. He will also say the exact same thing about Rome. Somehow we are expected to believe that the Soviet Union excelled in art because of the government’s rigid control and this was somehow a bad thing, when in fact the CIA controlled everything. This is how they went about doing it. Braden again:
“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.”
There is so much to unpack here, and simply not enough time. Braden is telling you why crappy art is selling for millions. It’s because the CIA is spending millions upon crappy art in order to sell America and the world on an illusion. And they’re still doing it. In May of 2013, German artist Gerhard Richter sold his 1968 painting, “Domplatz, Mailand,” at auction for $37-million. Have you seen it? It looks like a fuzzy black-and-white photography. Richter’s record was broken six months later, when Jeff Koons “Balloon Dog” sold for $58.4-million at Christie’s. The total sales that night at Christie’s amounted to $495-million. The CIA has already let you in on the secret, haven’t they? Modern art is an illusion. In April of 2020, a dead U.S. economy experienced its best month in gains on the stock market since 1987. It’s best month, regardless of the grand initiation into the Illuminati that was the COVID-10 panic-demic or whatever. And we’re talking dead economy. The Federal Reserve injected trillions of dollars into Wall Street. It’s all an illusion. The people who print the money can create whatever false reality they want. The world is a stage.
Journalists keep telling us Jackson Pollock was born on a farm in Wyoming, as if to assure us that another Midwest cow-milker passes the Norman Rockwell grassroots test. But pay attention to what is really being said here. The CIA is literally screaming into your ear, “You would never have known the works of Jackson Pollock if we did not pocket the cash for his exhibitions and tell you to look a second and a third time at it.” Then again, the same can be said of Norman Rockwell. Who controlled The Saturday Evening Post? Strange though, Pollock was ten months old when his family left the state, and even Wikipedia admits he never returned to Cody. This is due to the fact that his father LeRoy Pollock was a land surveyor for the government. We are told nothing else of his career. Wikipedia furthermore assures us that Jackson Pollock is not a true Pollock, related to the Pollock’s, and in turn the Jackson’s (Mm-hmm, President Andrew Jackson), as his father was born a McCoy. The new surname is a result “of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other.” But I’m not taking the bait. The Ministry of Truth is scrubbing information. Jackson Pollock is a Pollock and a Jackson.
And consider this. Their various moves across the country eventually landed the teenage artist in Los Angeles. Echo Park—spook central. He then went on to study under Thomas Hart Benton at the Art Students League of New York. An interesting side note, the League operated a summer school of painting at Woodstock from 1947 until 1979. We shall perhaps turn to that subject at another time. And speaking of Norman Rockwell, he graduated from the very school. So, there you go, Grassroots. The far likelier scenario is that LeRoy Pollock is yet another spook who pimped his son out. Or Jackson himself is a spook.
Most people will protest my conclusions. They would rather live in the CIA-created illusion whereas Louis Armstrong didn’t have the faintest clue who he was tooting his trumpet for. This is precisely how the stories are being spun. The CIA is basically like your local PBS station, enhancing the American arts by telling the common person what is artistic. The countless journalists who have cyclically rehearsed Agent Braden’s story over the last three decades do not expect nor intend you to ask the next obvious question. If the CIA infiltrated the art world in order to bolster America’s intellectual war against the Soviet Union, then why in the world did they institutionalize what even most Americans agreed was crappy art? Were they all out of options? Could they not simply fund Baroque schools? Were they somehow expecting to convince the Soviets that the freedom found in abstract expressionism was good art too? Ah, now we’re getting somewhere. The CIA turned art into a weapon alright, but it was never about Soviet Russia. They formed it into a weapon for the very reason why the intelligence community organized Suffrage. It’s the exact same reason why they devised social political Movements like abortion rights. And women’s lib. And gay rights. And transgenderism.
Sure, Michelangelo may have carved David out of a rock, but the CIA can do better. The Los Angeles County Museum of Art offered us a rock. Just a rock. A 340-ton rock. How is that better? You may even be asking yourself, “Where did we go artistically wrong?” If you are asking that question, then you’re functioning exactly as the CIA expects you to.
In 1917, Marcel Duchamp offered New York an upside down urinal and changed art forever.
“There it is,” you say, “the art world started circling the drain in 1917.”
Wrong. Spooks have always held the spotlight. Nothing went wrong in 1917. Art has always been pushed out. For expert advice, we turn once more to Agent Braden.
“And after many centuries people say, ‘Oh look! the Sistine Chapel, the most beautiful creation on Earth!’ It’s a problem that civilization 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.”
There you have it. When Agent Braden conjures the Vatican, what he’s really saying is, “Your slave masters, the people who print the money, will push whatever they want in your face.” They will create their own reality, and it all serves a purpose. See, good art tells a story. I am certainly no art expert, but I think it’s safe to conclude that modern art does indeed tell a story. That is not to say modern art is necessarily any good. But if the message has been communicated, then art has done its job, and is therefore deemed good. The Roman Catholic Church funds stories. The CIA funds stories. A better way to put it is this: they create stories. Music. Hollywood. New York. Washington. Fashion. Toys. Social political Movements. Higher learning. Lower learning. Art. Stories are everywhere. Everything in our peripheral vision is manufactured. Do you remember the Steve McQueen movie The Blob? McQueen was a spook, by the way. It’s like McQueen was warning us of the true terror inhabiting our world—the CIA. The intelligence community started out as a roll of jelly, probably grape flavored, and consumed one person. It quickly grew larger and consumed two or three dozen. And now it’s so large that the entire world is one big globular jar of grape jelly. We’re in a movie. The script is terrible and I want out.
For most, knowing the CIA’s involvement becomes the selling point. Michael A. Hoffman told us this would happen. It’s all part of the initiation into the cult of secret societies and espionage and the art of pimping. In his book, Secret Societies and Psychological Warfare, Hoffman quotes from the British-intelligence wing of Cryptocracy:
“This demonstrates one of our simpler methods. Realizing that our activities will sooner or later come to light, we structure our activities so that as conspiracy researchers unravel them, they will release information into the public consciousness in such a way that it mirrors our initiatory procedure. In this way, the more we are investigated, the more masses of people are psychologically processed by the very people who seek to expose us. the meme that constitutes our essential structure is then successfully mimicked within the consciousness of those who investigate us. Success can then be measured precisely to the extent that our work is ‘exposed.'”
Our Slave Masters are inviting us into the drama. Slaves love entertainment in the barracoon. They want us to see them biting their thumbs at us, flicking their fingers under the beard, so as to further seed their own immunity for our collective disgust. They want the common man to gaze back upon those who are long dead, men like Rockwell and Pollock, who therefore can no longer be questioned—or in the case of conspiratorial crimes, prosecuted—and have little choice but to swim in the ocean of cognitive dissonance. They want you disoriented, not knowing what direction is up or down. They want you to believe the world is spinning while the sun is standing still. They want you to acknowledge the CIA’s part in your every attraction to art and the stories they tell without ever coming to the conclusion that you believe what you presently do because the CIA programmed you to believe it. They want you to think there’s dozens of potential sexes for a man and woman to choose from and that it was your careful reasoning and research that brought about those conclusions. They want to be the authority on all cognizance and for you to mock anyone who disagrees.
The present war is against a truth which can be objectively measured. It is a war against anyone who dares to determine quality. It is a war in favor of uniting individuality against the family construct. The CIA doesn’t want a debt-free mommy and a daddy and the several children resulting from their devoted love sitting down for dinner or family game night in the home. When drugs didn’t work, they supplied free porn. Those familiar with my work will likely know my every conclusion. Lucifer runs everything. There is only one absolute truth, and that is the Most-High Elohim, Yahuah. He gave us His Torah as something to be followed. He dropped it in out laps and said, “You want the straight and narrow? Here you go. Everything else leads to death.” And when that didn’t work, He gave us His Son, Yahushua, in order that we might follow His Torah. The Christians of Antioch were created by spooks, in order that morality might be measured by Rome and not by heaven.
The only reason nearly every single person on Earth believes Yahuah wants them to disobey His Torah is because secret societies, like the Freemasons, and intelligence communities like the CIA, have made each individual believe the idea was theirs from the beginning.
Sanders, Frances Stonor, The Independent: “Modern art was CIA ‘weapon’” (Sunday October 22, 1995)
McBride, Michael R., “How Jackson Pollock and the CIA Teamed Up to Win The Cold War”
Mann, Jon: “How Duchamp’s Urinal Changed Art Forever”
Callahan, Maureen: “The overpriced world of bad art”
Mathis, Miles: “Opening Doors”
Wikipedia: “Jackson Pollock”
Hoffman III, Michael A: “Secret Societies and Psychological Warfare”