Judge Rejects Arguments Of CIA Torture Architects, Allows Lawsuit To Go To Trial
Shadowproof
When she was 30, Suzy Hansen left the US for Istanbul – and began to realize that Americans will never understand their own country until they see it as the rest of the world does. In college, she read James Baldwin, giving the sense of meeting someone who knew her better, than she had herself. This came as a shock, not necessarily because he said I was sick. It was because he kept calling me that thing: “white American”.
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In the age of "fake news" and other mysterious media distortions, this book reminds us of a "simpler" time. Joel Whitney offers a new history of how, beginning in the late 1940s, the Central Intelligence Agency (CIA) simply (if much of the time secretly), paid writers, musicians, and artists, and sponsored publications, concerts, exhibitions, and cultural institutions as part of its Cold War arsenal.
At first glance, modern art and contemporary imperialism make strange bedfellows. The book under review both charts the history of the CIA's work in promoting US corporate interests through its manipulation of culture--what was then called cultural diplomacy-- while also working to define modernism. The reviewer congratulates the author on his first task, but criticizes him on the second.
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Increasing surveillance on the leadership of PDVSA, the most important company in a South American nation seen as hostile to U.S. corporate interests, was a priority for the undisclosed NSA division to which the analyst reported. “Plainly speaking,” the analyst writes, they “wanted PDVSA information at the highest possible levels of the corporation – namely, the president and members of the Board of Directors.”
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