How the CIA Uses Music as the MOST Powerful Weapon Ever Created | Mike Benz

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the relationship between the state department and CIA and the music industry. I sort of started in the 1940s with jazz diplomacy. This was this period where the you know the World War II had just ended and we are now in a fight for geopolitical control over all the different neutral countries in the world against the Soviet Union. And the Soviet Union has this communist government and they’re making appeals to Africa among other places saying that the capitalist society in the West is racist. They’re discriminating against black people. There’s all this class injustice. So African countries should sign economic partnerships with the Soviet Union. They should have their governments be more aligned with the Soviet Union because they’re more egalitarian. M and so this was a lot of how the Jay Edgar Hoover Hoover FBI was sort of calling a lot of folks who were pro- civil rights they were calling them communists and Soviets because the Soviet Union was amplifying these kind of you know there’s racial discrimination against African-American you know stuff on on their own media channels and so so in Africa what the state department did is it took who were very popular at the time, these black jazz musicians, Louisie Armstrong and the like, and would fly them, you as essentially music diplomats to Africa and making the point to African diplomats and African civil society organizations that actually the West is, you know, is does not discriminate. The Soviets are wrong. And so you had these musical ambassador types of uh being flown around by, you know, on tax play taxpayer dime. And then with the with classical music around the same time the CI starts something called the Congress for Cultural Freedom which is this big arts and literature and music hub. It’s basically hundreds of poets, musicians, thought leaders in the arts space, in the culture space and the music space. Gloria Steinum was a part of that with with the feminist movement. Um but among that were classical musicians. So at the time Shastikovich and these kind of Russian classical composers were seen to be superior to like western classical musicians. And so even in the classical music hub, the CIA organizes these conferences through the like musical conferences, musical exchanges, musical concerts uh in Rome, in Paris, in Germany through this CIA funded cutout, the Congress of Cultural Freedom in order to show that actually Western classical music is, you know, competes on par and is better than Russian classical music. And then you had the whole rock and roll movement where you had this export to uh essentially behind the iron curtain. You had this anti- athoritarian, you know, challenging the government uh you know, rock music uh space. And a lot of this stuff was sponsored by the US government, sponsoring rock concerts by the Berlin Wall to try to, you know, show that we’re against the, you know, the big government of the Soviet Union and against Big Brother. Then you had this in in the rap space you mentioned Cuba. Um so in the in the early 2000s the CIA, USAD, the State Department really began to turn attention to the rap and hiphop space uh as it you know achieved this kind of cultural saturation and did this in in a bunch of countries. So a very famous one is uh this group called the Santa Cedro Collective in Cuba. In 2009, this CIA cutout called the National Endowment for Democracy. It was conceived of by the CIA director in 1983. Uh the CIA gets a copy of every single grant that they that they give. This was disclosed in 1986 in the Washington Post. Its founder says we were created because the CIA used to get in trouble in the 1960s and ‘7s. I’m sorry. Groups seen seen as subsidized by the CIA were were scandalized by that. So, our endowment, NED, the National Endowment for Democracy, was set up so that we could fund the groups that the CIA would they’d be too scandalized to get from the CIA. Meanwhile, CIA gets a copy of every single one of their grants. So, it’s just an empty cutout for it. So, in 2009, they write this memo. They have this in-house journal called the Journal of Democracy. We pay for it as taxpayers. And in this 2009 memo, they’re talking about how their attempts at regime change in Cuba have been unsuccessful and they should try a more targeted Afrouban strategy because the Afrouban population is actually was is higher I think than it’s like the highest most popular demographic in Cuba and yet they’re under reppresented in the Cuban government and there are grievances that can be inflamed in Cuba on that basis. when they and they did this demographic survey, again, this is a CIA cutout doing this, and they say, “Okay, well, the Afrouban population is disproportionately unemployed, um, uh, prone to using drugs and, uh, and has cultural salience communicated through rap and hip-hop music.” A year later, they begin funding together with USAD. So, it’s USID, which is a giant CIA money funnel, plus the CIA’s effectively proprietary cutout, begin funneling money and aid to this rap collective called the Santa Cro movement, uh, who pens this anthem about taking to the streets to, uh, rebel against the government. At the same time, USAD sets up a fake Twitter in Cuba. It’s called Zunzano. This was a big scandal where humanitarian funds were earmarked for Pakistan by US aid and then they were diverted through Cayman Islands banks to set up uh a Twitter knockoff cuz in 2009 2010 this is when the Arab Spring was going on, right? So you had these CIA social media revolutions and so they wanted to bring a Cuban spring there. So they get they have these insider documents that end up leaking a couple years later where they say that the goal is to attract people because Cuba at the time had banned Twitter. And so uh they wanted to make this look like this was by Cubans for Cubans. So they so US A got these two unsuspecting business executives to set up this Twitter knockoff. The plan was, according to the USA documents, to get them to attract them uh with by advertising a social media website that would emphasize sports music and hurricane updates. And then once they hit 100,000 subscribers, they would switch to uh anti-government political messaging. And so this group, by the way, the Santa Cro movement and their anthem they pinned to try to, you know, get people to take to the streets in a color revolution. You can still see odes to this in in art basil in Miami is I live in Miami that you you still see this you Miami was the biggest CIA hub for the whole Cold War. There was um the station JM Wave the Miami station was the largest CIA hub in in the world and because Miami was so close to you was giant port city and it’s the Caribbean and Central America you get the South America tip. So anyway, even even today in 2024, the Biden administration overthrew the government of Bangladesh. They did so in part through Ned Grants, this CIA cutout grants to Bangladeshi hip-hop artists. And even these documents leaked where Ned actually wrote back to the State Department that they funded these two rap and hiphop videos that were designed to get people to take to the streets to sew distrust in government to uh inflame tensions between the youth and unemployed people and the government not serving them. And the Biden administration at the same time opened up this brand new center called the music the global music diplomacy bureau within the state department. The State Department is what coordinates CIA and US A. So, I think in 2024, they they brought 22 rap and hiphop artists from 14 different countries for a 3-day training session at the at the State Department. You know, they’re training them how to mobilize youth, how to how to get people to the streets. And this is another big thing with these concerts. They they simulate street mobilization. When you get all these people together in the street, you get them in the practice of taking to the street and they put aside all the differences they might have with each other on grievance grounds. Like for example, the um there was an underground rock scene that the CIA and State Department worked with in Yugoslavia in the 1990s when they were backing something called the Oatpour movement, which is kind of the origins of this like iron fist for all these color revolutions. And what they what the whole purpose is you’re the enemy of my enemy is my friend. You have all these groups who don’t necessarily like each other but when they are in fighting they can’t form a unified front to win an election or to rally behind like an opposition candidate who will take the place of the leadership. So having the backdrop for organizing being music everyone likes rather than uh you know abortion when half of the half of the people might not you know on have religious differences so they might not want to organize about that or you know tax policy when half of the people you might want to recruit are business owners or the like or you know energy policy when half of the people might like cheap fossil fuels, half of the people might like you know renewable energy. But the music cuts through all of that. We’re all together. We have one thing in common, which is that we hate this government. But now we’re all marching together. We’re all in the streets together. We’re all vibing to the same music. And so, you know, you see this all the time. And this is also another thing like Bono for example who’s uh been kind of my like uh you know betir on some of this US aid stuff because you know Bono’s out here talking about how US aid has the cuts to US ID have killed 300,000 people so far and it’s like did he say that he did he doesn’t know what he’s talking about he’s citing this Boston University study which is complete garbage even in the study itself it’s like well we don’t count duplicate deaths So theoretically if someone dies from dysentery, AIDS, Ebola, SARS, Zika and MS, uh we count that as 12 deaths and none of these things, nobody’s auditing this like you know basically a lot of people see me as like a force behind this USAD shutdown. M and you know that that was a major blow to the capacity of a lot of these intelligence operations, these covert influence operations. As I just mentioned, US A is running the rap game in many countries, let alone you know what it’s doing in terms of impacting markets, what it’s doing in terms of impacting governments. So there’s a there’s a lot of people who are very angry at that, but they can’t really think of a good reason to keep it in in light of the fact that you don’t see a lot of foreign leaders complaining about US aid uh being shut down. Like when when Trump announced the shutdown of US ID, the president of Mexico came out and said, “Thank God.” The president of El Salvador came out and said, “Thank God.” The heads of the drug commissions in Peru said, “Thank God, because when Bolivia banned US ID, they they finally got cocaine under control. Turned out the US a cocaine programs were responsible in large part for keeping the cocaine going, which is a common story here because, you know, you saw the same thing in Afghanistan, you saw the same thing uh in Syria, you saw the same thing the golden triangle, the golden crescent uh in in Colombia and the like But anyway, I think the music stuff is so interesting because, you know, you have like the military, I think in 2023 began this massive sponsorship of South by Southwest in Miami where I live, the largest music performing arts center. It’s called the Adrien Arch Center. Adrien Arsh is the is one of the top five largest donors to the Atlantic Council, which is seven CIA directors on its board. that’s funded by the Pentagon, the State Department, USAD, and is it builds itself as NATO’s think tank. And you know, the benefactor for that is doing the per, you know, the largest performing arts center in Miami. And a lot of this is because politics is downstream of culture, right? And so, you know, you if you can influence the culture and influence the mythology, you effectively set the bounds for what’s politically possible. Experience Free Speech

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