MSNBC– U.S. military officials tell NBC News that investigators have been unable to make any direct connection between a jailed army private suspected with leaking secret documents and Julian Assange, founder of the whistleblowing website WikiLeaks.

The officials say that while investigators have determined that Manning had allegedly unlawfully downloaded tens of thousands of documents onto his own computer and passed them to an unauthorized person, there is apparently no evidence he passed the files directly to Assange, or had any direct contact with the controversial WikiLeaks figure.

Assange, an Australian national, is under house arrest at a British mansion near London, facing a Swedish warrant seeking his extradition for questioning on charges of rape. Assange has denied the allegations.

WikiLeaks’ release of secret diplomatic cables last year caused a diplomatic stir and laid bare some of the most sensitive U.S. dealings with governments around the world. It also prompted an American effort to stifle WikiLeaks by pressuring financial institutions to cut off the flow of money to the organization.

Continue reading about U.S. Can’t Link Accused Army Private to Assange.

© COPYRIGHT MSNBC, 2011

MEDIA ROOTS– In George Orwell’s 1984, Britain is depicted as a totalitarian police state that is ruled by the Party, or Big Brother– an enigmatic, ubiquitous elite that controls society through heavy surveillance, nationalist propaganda and historical revisionism. The concept seems like a far-fetched portrayal of a Democratic nation’s demise into totalitarianism, but in America’s “post 9/11” climate of fear, the United States government has been building a comprehensive grid of surveillance and control that bears frightening similarities to Orwell’s fictional narrative.

The glaring difference between the two is that Orwell’s dystopian society is overtly totalitarian. America, conversely, operates under a “soft fascism” – an insidious, systematic method of preventative action and corporate top-down control over society’s media, economy and politics – while maintaining the necessary illusion of personal choice and freedom. A populous with little to no concept of their subjugation makes them the perfect subjects to rule.

Many Americans might not feel the government’s hand or Big Brother’s watchful eye directly in their lives. However, with the use of GPS, cell phones and the Internet, every move we make can be tracked, cataloged and divied into demographics that are used to increase corporate advertising efficiency and to create a “chilling effect” throughout our culture, stifling dissent and diminishing activism.

During times of war, governments are notorious for capitalizing on their ability to suppress dissent and manipulate the masses. In the wake of 9/11 hysteria, the Bush administration enacted several controversial pieces of legislation that severely curtailed Americans’ freedoms under the pretext of “security” and “protection”. With the help of a consistently compliant and unquestioning media, his administration also instituted a legal framework to circumvent citizens’ civil liberties and target their free speech. Bush’s cabinet adopted Orwellian rhetoric and Nazi style propaganda to litigate sweeping measures that further eradicated liberty: The Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act’s (USA Patriot Act) warrantless domestic wiretapping, and the Homegrown Terrorism Act & Animal Enterprise Terrorism Act’s criminalization of thought and peaceful activism.  

Nine years after 9/11 and two years into Obama’s reign, the vague threat of terrorism still hangs in perpetual balance as the justifying cliché for the administration’s continuation of such Bush-era policies. Obama has followed the same Bush trends of illegal detention, rendition, wiretapping, spying, state secrets, demonization, persecution and fear mongering against the population. Obama has aggressively cracked down on whistleblowers exposing military corruption as well as given a green light to assassinate US citizens abroad without due process of law. One of the most disturbing trends in the ever-expanding police state are the new Z Backscatter vans, vehicles that are giant X ray machines, designed to discreetly scan through people’s houses and cars without their knowledge – a surveillance tool that blatantly violates fourth amendment rights.

Like Orwell’s portrayal, the US government’s expanding power structure relies on nationalist propaganda to manufacture and cultivate the fear of an enemy. Although the War on Terrorism has consumed the political climate for almost a decade, the chances of actually dying in a terrorist attack in the United States are statistically insignificant. This little mentioned fact undermines the current administration’s justification for their extension of state powers and secrecy in order to protect the country’s “national security”.

It’s critically important to create dialogue about America’s covert slide to fascism. Absolute power corrupts absolutely– our politicians and their corporate puppeteers will continue their greedy power grabs unabated unless our society starts speaking out against the dehumanization and the unconstitutionality of the emerging police state.

Writing and Photography by Abby Martin

Do We Know the Truth about 9/11?

RAW STORY– A Somali-born, American teenager was apparently set up by federal law enforcement officials who posed as radical Islamic fighters and lured the young man into a plot he believed would lead him to detonate a car bomb at an Oregon Christmas tree lighting ceremony.

The bomb, provided by FBI agents, was “inert” and did not pose a threat to public safety, according to the US Attorney’s Office in Oregon.

Oddly enough, Arthur Balizan, an FBI agent in Oregon, contradicted the US Attorney’s Office, suggesting that the threat posed by 19-year-old Mohamed Osman Mohamud “was very real.”

Except: “[At] every turn,” he explained, “we denied him the ability to actually carry out the attack.”

The story rings devastatingly familiar when stacked next to the tale of Hosam Maher Husein Smadi, a Jordanian man arrested in 2009, at age 19, for allegedly planning to detonate a car bomb in a Dallas skyscraper.

Each boy was led down the path to imagined violence by federal agents, with authorities ultimately providing fake bombs in both cases. Smadi and Mohamud, officials claim, expressed a desire to engage in terrorist attacks before agents began luring them in.

Continue reading about the FBI setting up the teen blamed for the fake car bomb here.

Photograph by Flickr user dnewman8

October 22, 1995

INDEPENDENT– For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency  used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War.

In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art– President Truman summed up the popular view when he said: “If that’s art, then I’m a Hottentot.” As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the “long leash” – arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.

Read full article on Modern Art was CIA ‘Weapon’.

© 1995 Independent

Photo by Robin.Elaine