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  • Full bibliographic data for Who Paid the Piper?

    Who Paid the Piper?
    CIA and the Cultural Cold War
    Authors and contributors
    By (author) Frances Stonor Saunders
    Physical properties
    Format: Paperback
    Number of pages: 544
    Width: 128 mm
    Height: 197 mm
    Thickness: 37 mm
    Weight: 401 g
    ISBN 13: 9781862073272
    ISBN 10: 1862073279

    Warengruppen-Systematik des deutschen Buchhandels: 27430
    BIC geographical qualifier V2: 1KBB
    BIC E4L: POL
    Nielsen BookScan Product Class 3: T7.1
    BIC subject category V2: HBLW3, JFC
    LC subject heading: ,
    BIC subject category V2: HBJH
    LC subject heading:
    BIC subject category V2: JPSH, JPA, JPVH2
    BISAC V2.8: HIS001000
    LC subject heading:
    BISAC V2.8: POL010000
    BIC subject category V2: JPFK
    DC21: 327.1273
    LC subject heading:
    BISAC V2.8: HIS037070, POL035000, POL036000, POL042020
    BIC subject category V2: 1KBB
    BISAC V2.8: SOC002010
    Libri: B-548
    LC subject heading:
    BISAC V2.8: POL039000
    LC subject heading:
    Thema V1.0: JPSH, JPA, JPVH, JBCC, NHH, JPFK
    New edition
    Edition statement
    New edition
    Illustrations note
    Imprint name
    Publication date
    04 April 2000
    Publication City/Country
    Review text
    The end of World War II left the allied forces occupying Germany with a dilemma: everyone knew that, though undeclared, the old enmity with Soviet Russia had been resumed, and the Russians were already winning hearts and minds by pouring a great deal of money into a wide range of cultural events and conferences. How was the West to respond? A group of die-hard anticommunists responded by disrupting the communist-inspired conferences while staging their own rival events. These were often crude, notable for being boring, overly stage-managed, and for generating little beyond hot air; but both sides were new at this form of cultural propaganda. They soon got a great deal more subtle, as those who organized these pro-West cultural programmes (they ranged from full-blown arts festivals to conferences to providing financial and even editorial support for a plethora of small magazines such as Encounter) were absorbed into the new-born CIA. Eventually the CIA found itself committing a vast proportion of its financial resources and its manpower, often by way of a bewildering array of supposedly independent charitable foundations, to this curious aspect of the Cold War. Saunders chronicles this entire story with both verve and an astonishing attention to detail, in particular her portraits of the central players in events - Michael Josselson, Nicolas Nabokov, Melvin Lasky - are both perceptive and convincing. Without a detailed knowledge of the secret history of the last half century, it is hard to say exactly how much is genuinely revelatory in her story - certainly the role of the CIA in bankrolling much of European cultural life has been widely suspected if not an open secret for almost the entire period covered by this book - but it still amounts to an interesting and unexpected cultural history of our age. (Kirkus UK)