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Zero hedge seems to have far less political spin than far left news outlets such as the NY Times and far right news outlets such as Breitbart. Nice to have something fairly close to the center politically.
Agree. Pre 2019 it was different. More "mainstream" members now with less technical data and in-depth anaysis. I did like how they used the site to speak of developing events around the world before it became news.
Yes.
OK. I have spent the past 2 hours slogging through this article (10 printed pages, 12 point font) and making notes. I'd like to share some thoughts:Excellent article - worth the time
Some Call It Conspiracy Theory – Part 2
Iain Davis In Part 1 we contrasted the popular misconceptions about so-called “conspiracy theorists” with the well-grounded demographic research done on the individuals who, collectively, have had …off-guardian.org
www.corbettreport.com
OK. I have spent the past 2 hours slogging through this article (10 printed pages, 12 point font) and making notes. I'd like to share some thoughts:
Although the article is a fine article and is well written, I believe it is a diversionary tactic. So what exactly was the purpose of this intricate article? Here's what I think:
As long as the plebeians are riled up about "conspiracy theories" and people like Russell Brand being mistreated they will be distracted from the critically important job of researching for themselves just what the hell is going on and what the people in control have planned for them. The people in control aren't in the conceptualizing mode; they are in full implementation mode and time is running out. Hopefully for them and not for us. We cannot possibly know all the ins and outs of what is happening but I'm sure that not EVERYBODY is standing around flat-footed and gap-jawed.
The reason why I posted John Gatto's lecture about Mudsill Theory yesterday is because of Gatto's exhortation towards the end that, "We've got to scrap Mudsill Theory before Mudsill Theory scraps us." If you don't know what Mudsill Theory means, I'll try to do a thumbnail about it: It means that regular people must not ever be allowed to become educated because then they will be uncontrollable. Well guess what; not only are there a LOT of us that are educated and have functioning brains, we also have the internet. The Powers that Be have lost control, tried to exterminate us, and failed at it so far.
I spent my time yesterday looking into The Great Taking. I think people's time would be well served doing some research into this so that they might make a few last minute alterations and preparations if possible.
If I'm going to do my own research and hopefully minimize my risks, I've got to be discerning about how I spend my time. Yesterday, I found The Great Taking mentioned in the Comments below the latest offering from John Titus here: Presenting the Fed’s Perfect Plan for U.S. Dollar Oblivion John Titus's videos are available here: BestEvidence Titus is focused on the U.S. but this is a global problem as it is all connected via the global financial institutions.
The Great Taking If you're in a hurry, start at page 9, Security Entitlement, which equals page 42 if you are reading the free book on line at the link. This explains how we will own nothing, but not how we will be happy. There's a free pdf of the book available too.
View: https://www.youtube.com/watch?v=IIoGu692a64
Episode 449 – How BlackRock Conquered the World | The Corbett Report
So now I'm off to study The Great Taking.
www.independent.co.uk
This and more, good reasons to keep reading badboy decons
@Culture_Crit
Reminder that modern art was a CIA psy-op.Former CIA officials came clean on this during the '90s, confirming that the agency used abstract art by Jackson Pollock, Willem de Kooning and others to promote American culture during the Cold War.The intent was to portray America as a bastion of intellectual and creative freedom. This was to rebut Soviet assertions that the U.S. was "culturally barren", and to contrast the cultural confinement of the Soviet empire, where artists had been restricted to painting Soviet realism since the 1930s.Abstract Expressionism was seen as the most free and extreme form of artistic expression - the antithesis of Soviet rigidity. Modern art therefore became a weapon in the cultural war against communism.Beginning in the 1950s, the CIA secretly funded a group called the Congress for Cultural Freedom, through which it funnelled money to international art shows, literary magazines and operated dozens of offices around the globe - all with the explicit goal of promoting American Abstract Expressionism.These efforts, coined operation "long leash", were meant to demonstrate to disaffected Soviets and European intellectuals that American painters were free to invent, and offend; unlike under tyranny, where "artists are made the slaves and tools of the state", as Eisenhower once said.Paradoxically, at the time the works of Pollock and de Kooning were not even broadly popular with the American public, and earlier, more open attempts to promote new American art by the State Department had been widely mocked. Even President Truman famously said, 'If that's art, I'm a Hottentot'', when visiting an exhibit purchased by the DOS.Because of this, and because it would have been impossible to attain support for such a project through Congress, the CIA's covert operation was necessary to push Abstract Expressionism in secret. Do you think this had a meaningful impact establishing abstract art as a legitimate movement, or would it have flourished anyway on its own merits?
View attachment 57763
@Culture_Crit
Highly recommend reading this article:
Modern art was CIA 'weapon'
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
Modern art was CIA 'weapon'
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
Sunday 22 October 1995 00:02 BST
Love this being revealed to all the embracers of postmodern nonsense in this field. Glad I had the perspective of reading MilesMathis for decades. (Now THERE is an artist)
@Culture_Crit
Reminder that modern art was a CIA psy-op.Former CIA officials came clean on this during the '90s, confirming that the agency used abstract art by Jackson Pollock, Willem de Kooning and others to promote American culture during the Cold War.The intent was to portray America as a bastion of intellectual and creative freedom. This was to rebut Soviet assertions that the U.S. was "culturally barren", and to contrast the cultural confinement of the Soviet empire, where artists had been restricted to painting Soviet realism since the 1930s.Abstract Expressionism was seen as the most free and extreme form of artistic expression - the antithesis of Soviet rigidity. Modern art therefore became a weapon in the cultural war against communism.Beginning in the 1950s, the CIA secretly funded a group called the Congress for Cultural Freedom, through which it funnelled money to international art shows, literary magazines and operated dozens of offices around the globe - all with the explicit goal of promoting American Abstract Expressionism.These efforts, coined operation "long leash", were meant to demonstrate to disaffected Soviets and European intellectuals that American painters were free to invent, and offend; unlike under tyranny, where "artists are made the slaves and tools of the state", as Eisenhower once said.Paradoxically, at the time the works of Pollock and de Kooning were not even broadly popular with the American public, and earlier, more open attempts to promote new American art by the State Department had been widely mocked. Even President Truman famously said, 'If that's art, I'm a Hottentot'', when visiting an exhibit purchased by the DOS.Because of this, and because it would have been impossible to attain support for such a project through Congress, the CIA's covert operation was necessary to push Abstract Expressionism in secret. Do you think this had a meaningful impact establishing abstract art as a legitimate movement, or would it have flourished anyway on its own merits?
View attachment 57763
@Culture_Crit
Highly recommend reading this article:
Modern art was CIA 'weapon'
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
Modern art was CIA 'weapon'
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
Sunday 22 October 1995 00:02 BST
