Top Left Link Buttons
  • en
  • de
  • ru

General updates

Category Archives

Webcast—Trump Counters Green Fascists at Davos with Renaissance Optimism

While 190 billionaires and their corporate and institutional flunkeys gathered at Davos, pushing a Green fascist agenda, U.S. President Trump intervened with a different axiomatic background. While his speech provoked hysteria, with some accusing him of “pointless optimism,” his praise of the citizens of Florence acting with imagination and boldness in building the great Dome—a feat often referred to by Lyndon LaRouche as exemplifying the spirit of human creativity and commitment to progress which resulted in the Renaissance—highlights again why the oligarchy is committed to ending his presidency.

Helga covered a number of topics, from the war danger, to the increasing likelihood of a financial collapse, coming back to the necessity for an emergency summit of three Presidents as a means to move into a New Paradigm, to overcome the dangers. She called on our viewers to join us to change the agenda, to bring mankind back to science and culture to counter war and destruction. Use the opportunity of this Beethoven year to discover the true beauty of human culture.


Schiller Institute Seminar on Strategic Implications of the Impeachment Battle in the U.S.

The very same day that the impeachment trial against President Donald Trump was started in the U.S. Senate, EIR and the Schiller Institute gave a 2.5-hour background briefing in Berlin, featuring Harley Schlanger and former NSA Technical Director Bill Binney, the latter by video.

The participants from various nations and institutional backgrounds heard an extensive briefing by Schlanger about the strategic implications and history of the impeachment battle in the U.S. and the all-encompassing need to establish cooperation among the U.S., Russia, and China in the present strategic escalation, as Helga Zepp-LaRouche called for on January 7.

Schlanger described the British Empire’s role in bringing about regime change wars, the Blair doctrine of maintaining the failing “rules-based world order” of geopolitics and the bankrupt financial system of globalization. He contrasted those failures to the newly emerging paradigm of economic and political cooperation. It became clear to the participants that all of this was set up to end Trump’s explicit intention to stop the regime change wars and re-establish good relations with Russia — the nightmare for the Empire. Therefore, the impeachment question is of strategic importance for the whole world.

In the extended discussion period, questions included: Why is the British Empire still so important in all of this? If Trump is so peace-loving, why does he surround himself with war-hawks? Why did Gen. Michael Flynn not realize that he was under surveillance? What would happen if the Senate votes to convict Trump? How can the confrontation between Iran and the U.S. be stopped, and what role is this going to play in the U.S. elections? What was the role of then French President Sarkozy in eliminating Qaddafi?

The overall response by the participants demonstrated a growing demand to understand the full strategic picture, its historical dynamics, and above all the solution.


Open Letter to Germany’s Classical Music Lovers in the Year of Beethoven: The Bounds of Decency Have Been Breached

The first thing one can say about the performance of Beethoven’s Fidelio at the Darmstadt Theater, in a production of Paul-Georg Dittrich with a musical adaptation of the finale by Annette Schlünz, is: It’s god-awful! It couldn’t be worse. God-awful from a musical, artistic, philosophical and human standpoint. Of the long series of stupid, crude, repetitive Regietheater [fn1] performances, that have been staged for over half a century(!)—limited at first to theater, but then also inflicted on the opera—this performance was the absolute low point.

In the summer of 1966, when Hans Neuenfels—then a 25-year-old dramatist at the Trier Theater—had a leaflet distributed to promote the “First Happening in Rheinland-Palatinate,” in which he even asked, “Why don’t you rape little girls?” he was expressing the convictions of the 1968 movement, as we have known it since at least Daniel Cohn-Bendit. Since then—for 53 years now!—various nudes, rock bands, schizophrenics, or actors in Nazi costumes have been copulating on stage, and have succeeded in distorting beyond recognition the plays and compositions of Classical poets and composers. This is definitely not originality.

A scene from the Darmstadt performance of Beethoven’s Fidelio.

A scene from the Darmstadt performance of Beethoven’s Fidelio.

The Fidelio staging in Darmstadt presents a multimedia mixture of aesthetic vulgarity, Brechtian alienation effects, and the intrusion during the first part’s musical scenes of a screen filling the entire stage, on which photos and film clips are projected. They are supposed to illustrate the historical background of eight productions from 1805 until today. The overall impression is chaotic, and you begin to feel sorry for the singers who have to sing against this storm of clips, and for the heroine Leonore, who has to run around the stage the whole time like a headless chicken.

But the real monstrosity comes in the second part, when the Finale, the opera’s magnificent hymn to freedom, is literally chopped up in martial manner by the insertion of compositions in the New Music style of Annette Schlünz. In the program notes, Schlünz describes her insertions:

Annette Schlünz

Annette Schlünz

Little by little, a “chorus of hails” emerged, which becomes silent in part, or in which only individual voices or words remain. Sometimes I radicalize Beethoven’s instrumentation to reinforce his ideas or I repeat individual bars and then suddenly stop. I very much wanted to weave in external sounds and to color the music in some places. The trumpet fanfare, which is heard from the balcony of the State Theater before the performance begins, is something I take up and expand. It’s the signal that summons to a departure: Some instruments and musicians that drop out of the sound of the orchestra become, so to speak, rebellious, and bring in something new. The F major ensemble piece—a fantastic piece with a sacredness and coherence that I would never dare to approach—I leave untouched like a gem. The subsequent interlude with my music, in which different sounds, including the voices of eight vocalists, are sent throughout the room, completely breaks up Beethoven’s world of sound.

From the standpoint of the maltreated spectator, the noise that Schlünz inserted, during which the singers and instrumentalists trumpeted their deafening rubbish from the middle of the audience and from all sides, has nothing to do with music: It clearly crosses the line to bodily harm.

Just how emotionally damaged Schlünz is, becomes clear in the next sentences:

When listening, I often imagined that I was sitting at the controls of a mixer console and turned up the speed. And then I would just assume that Beethoven, when he composed, almost intended to go too far and fast. It’s really exulting! It reminds me of children who go crazy with excitement because they don’t know how to keep their emotions under control.

If there is anything crazy here, it is the pitiful state shown by Schlünz, in her emotional impotence to understand the sublime nature of the victory of the love between Leonore and Florestan. Moreover, she obviously cannot stand such greatness; her idea of wanting to speed up the music by adjusting a mixer console, represents the same uncontrollable freak-out that led the murderers of Ibykus [fn2] to betray themselves after the choir of the Erinyes had called forth the higher power of poetry in the theater of Corinth. Small, base minds cannot stand great ideas nor sublime feelings.

The magnificent Finale of Fidelio, in which Beethoven celebrates the defeat of tyranny through the courage of conjugal love is an expression of the noblest humanity, where love, courage and the desire for freedom are expressed in music. In Leonore’s preceding aria, she sings: “I shall not waver, I am strengthened by my duty of marital love.” Beethoven chose as subject for the opera the idealization, in Schiller’s sense, of a historical event, namely the liberation of the hero of the American Revolution, the Marquis de Lafayette, the French Republican, by his wife Adrienne. This reflects Beethoven’s own republican sentiments, which included at that time of feudal structures and Napoleonic campaigns, both personal courage and the desire for freedom.

Portrayal of Leonora in the Darmstadt performance of Fidelio.

Portrayal of Leonora in the Darmstadt performance of Fidelio.

Such deeply human feelings, however, are no longer accessible to the disturbed emotionality of the representatives of the Frankfurt School and the liberal Zeitgeist. Stage director Paul-Georg Dittrich states most tellingly in his interview in the program notes, that the Finale seems to him “like a celebration where you don’t even know what is actually being celebrated.” While Dittrich and Schlünz may not know it, that in no way gives them the right to destroy ordinary people’s access to it by deconstructing Beethoven’s composition.

But precisely that was the intention from the very beginning of the diverse currents that formed the tradition in which Dittrich, Schlünz and the entire production in Darmstadt stand, in an amalgam of Theodor Adorno, the Eisler-Brecht School, and the Congress for Cultural Freedom (CCF).

In a noteworthy touch of truthful reporting, the Frankfurter Allgemeine Zeitung (FAZ) reported on November 12, 2017, in an article titled, “The CIA and Culture: How to Steal the Big Words,” about the exhibition organized on the 50th anniversary of a scandal that erupted in 1967, when it was reported that the entire gigantic operation of the Congress for Cultural Freedom was a CIA-funded operation as part of the Cold War effort. The FAZ added an admission about the whole thing that was tantamount to sensational for that daily:

The worrying point is that the secret service did not simply promote sinister reaction [i.e. the right wing], but it helped achieve the breakthrough of that same left-wing liberalism that still forms the mainstream standard of Western intellectuals.

The Fidelio production in Darmstadt is, so to speak, the terminal moraine of this process. It began with the change in U.S. post-war politics. After Roosevelt’s untimely death, under whose leadership the United States was allied with the Soviet Union in the fight against fascism in the Second World War, the intellectually much smaller Harry Truman quickly came under Churchill’s influence. The latter, in his notorious Fulton, Missouri speech on March 5, 1946, ushered in the Cold War. Thus the forerunners of those elements in the U.S. security apparatus, which Eisenhower later warned were the military-industrial complex and which are often called the “deep state” for short today, gained the upper hand. The Cold War thus proclaimed—demanded—that the deep emotions linking Americans and Russians together through the war experience, culminating in the meeting of the armies on the Elbe River in Torgau, be replaced by an anti-Russian sentiment. A new image of the enemy had to be built up and the population’s entire axiomatics of thought had to be changed accordingly. For the United States, this meant changing the basic beliefs that had contributed to the support for Roosevelt’s policies. For Europe, and especially Germany, the roots of European humanist culture, which constituted its cultural identity despite twelve years of a reign of terror, had to be destroyed and replaced by a construct—the deconstruction of Classical culture.

The Evil of the Congress for Cultural Freedom

The instrument that was created for this purpose was the Congress for Cultural Freedom (CCF), a gigantic psychological warfare operation launched by secret service circles around Allen Dulles under the direction of Frank Wisner, then head of the Office for Political Coordination of the State Department. The CCF was later moved to the covert operations department. The operation officially lasted from 1950 to 1967, when the New York Times published on April 27 the news that the CCF was a CIA operation. That revelation became the biggest cultural scandal of the 20th century. The CCF operated in 35 countries and published 20 magazines, and the CIA controlled virtually every art exhibition and cultural event. At that time, there was virtually no writer, musician, painter, critic, or journalist in Europe who was not in some way connected to this project—some knowingly, some with no inkling.

The first Congress for Cultural Freedom convention, Berlin, 1950.

The first Congress for Cultural Freedom convention, Berlin, 1950.

The orientation of these cultural projects was essentially the same as that of the Frankfurt School, which was exiled to the United States during the National Socialist period and whose individual representatives were in the pay of the American secret services, such as Herbert Marcuse. In any case, the views of the Frankfurt School fit perfectly into the CCF’s program. Theodor Adorno, for example, defended the absurd and ignorant view that Friedrich Schiller’s idealism led directly to National Socialism, because he took a radical point of view. Therefore, Adorno claimed, beauty must be eradicated from art. In his essay “Cultural Criticism and Society,” written in 1949, his misanthropic view culminated in the much-quoted phrase: “To write a poem after Auschwitz is barbaric.”

Here again, there was nothing new about the Fidelio performance in Darmstadt. In the program notes, George Steiner expresses the exactly the same opinion:

Is it possible that classical humanism itself contains a radical failure in its tendency towards abstraction and aesthetic judgment? Can it be that mass murder and that indifference to the atrocities that abetted Nazism are not enemies or negations of civilization, but rather their hideous but natural accomplice?

What is expressed here in very clear terms is the psychological warfare carried out by the CIA-steered CCF, which was intended to eradicate the roots of the humanist identity of the German population, in favor of an Anglo-American cultural value scale.

To restate the point concisely: There can be no greater contrast than that between the sublime image of man presented in humanism and Classical art, and the barbaric image of man of the National Socialists. The Classical image of man sees man as being good in principle, as the only creature endowed with reason, who is able, through aesthetic education, to develop the potential within himself to a harmonious whole, to a beautiful character, as Wilhelm von Humboldt expressed it. Classical works of art in poetry, the visual arts, and music celebrate this beautiful humanity, and inspire in turn the creative powers of the readers, viewers, and listeners.

In contrast, the National Socialists’ image of man, with its blood-and-soil ideology, is based on a racist, chauvinistic, and Social Darwinist conception of the superiority of the “Aryan” race. To claim that because both the classics and National Socialism occurred in Germany, there is an inner connection between these diametrically opposed ideas, is just as absurd as to assert that the United States Constitution directly gave rise to the interventionist wars of the Bush and Obama Administrations, or that Joan of Arc’s convictions were the basis for French colonial policy. That claim actually came from the CIA’s devil’s kitchen, which included such recipes as “necessary lies” and “staunch denial” since at least the time of the CCF. In the recent period, the world has again been treated to an ample taste of them in the ongoing coup against President Trump by British intelligence in cooperation with the “deep state.”

The question of how it was possible to go from the ideal of the German classics to the abyss of Nazi rule, is one of the most important questions there is. To answer it, one has to consider the entire history of ideas from the Romantics’ attack on the classics, and the dissolution of the classic form it began to spawn, to the beginning of cultural pessimism, which set in with the Conservative Revolution in response to the ideas of 1789 and the political restoration under the Congress of Vienna, down to Schopenhauer and Nietzsche, the youth movement prior to World War I, and finally to World War I and its consequences.

Inducing Cultural Pessimism

Inducing cultural pessimism was also the goal of various music projects of the CCF. In 1952, it held a month-long music festival in Paris titled: “Masterpieces of the 20th Century,” during which over 100 symphonies, concerts, operas, and ballets of more than seventy 20th-century composers were performed. The Boston Symphony, which was to play a leading role in other CCF projects, opened the festival with a more-than-strange performance of Stravinsky’s Sacre du Printemps (Rite of Spring). Other pieces were performed from the atonalists Ar­nold Schoenberg (one of Adorno’s teachers) and Alban Berg, as well as Paul Hindemith, Claude Debussy, and Benjamin Britten, to name but a few. Further conferences for the propagation of atonal and twelve-tone music followed in Prato and Rome, which were exclusively devoted to avant-garde music. At all of these well-funded events, it was taken for granted that everyone would pretend to enjoy ugly music.

Theodor Adorno

Theodor Adorno

The Darmstadt Summer Courses for New Music, which were also supported by the American military government and the CCF, performed Schoenberg, Anton Webern, and Béla Bartók. Lecturers such as Adorno, Olivier Messiaen, and John Cage gave lectures on their music theory. In an official assessment of these courses, Ralph Burns, head of the Office of Military Government, United States (OMGUS) Cultural Affairs Branch’s “Review of Activities,” wrote:

It was generally conceded that much of this music was worthless and had better been left unplayed. The over-emphasis on twelve-tone music was regretted. One critic described the concerts as the “triumph of Dilettantism.”

The issue here is not about stopping anyone from composing or listening to atonal or twelve-tone music, or other forms of avant-garde music. To each his own taste. The point is, that the idea of the equality of all tones of the tempered chromatic scale massively reduces the much higher degrees of freedom flowing from the polyphonic harmonic and countrapuntal composition, as it was developed from Bach to Hadyn, Mozart, Beethoven, Schubert, Schumann, and Brahms. It eliminates the ambiguity of the notes and the relationships between the keys, and the possibility of enharmonic confusion: Motivführung is a form of composition that, out of a single musical idea, develops further themes, movements, and ultimately the entire composition. This technique of composition, as elaborated and rigorously demonstrated in various master classes by Norbert Brainin, the first violinist of the Amadeus Quartet, was developed into greater complexity and perfection from Haydn’s “Russian” quartets Op. 33, to Mozart’s “Haydn” quartets, and then to Beethoven’s late quartets.

Given the heights that Classical composition had achieved with Beethoven, so-called modern music, if it throws these principles out the window—and there are undoubtedly good modern compositions—represents a decline comparable to reducing an anti-entropically developing universe of two trillion galaxies known so far, to a flat earth.

Classical Music Ennobles

Virtually all truly creative people, from Confucius to Albert Einstein, recognized and used the effects of good or Classical music to foster their own creative abilities and the aesthetic ennoblement of the population. Confucius rightly observed that the state of a country can be seen in the quality of its music. Immersion in the works of great Classical composers opens the deepest access to the creative faculties of the human soul and spirit. Where else, other than in Classical music, can one strengthen and deepen the passion needed to look beyond one’s own concerns and to address the great objects of humanity? Or where can one educate the sensibility needed to fulfill Schiller’s demand, as stated in his speech on universal history:

A noble longing must glow within us to add from our own resources our contribution to the rich legacy of truth, morality and freedom, which we have received from former ages, and must deliver richly increased to the ages to come; and to fasten to this imperishable chain, which winds through all the generations of men, our own fleeting existence.

It is precisely this emotionality of love, as expressed in the Finale of Fidelio, love for one’s spouse, love for humanity, and the idea of freedom in necessity, the idea of fulfilling one’s duty with passion, and thereby becoming free, that Schiller defines as the qualities of his ideal of the beautiful soul and of genius. It is the quintessence of the entire aesthetic method of the classics and of Friedrich Schiller in particular: “It is through beauty that one achieves freedom.”

This notion of freedom is what all the proponents of Regietheater, disharmonious music, and postmodern deconstruction attack, because it goes against their liberal concept of “freedoms,” rather than freedom.

Therefore, they dip unrestrainedly into the mothballed box of Brechtian alienation effects: interruptions, film clips, banners, cameras pointed to the audience, etc., so as to “shock” the viewers out of their habits of hearing and thinking. What came out of that in Darmstadt was a mixture of “Clockwork Orange” (recall the violence-ridden atrocity from Stanley Kubrick, accompanied by Beethoven’s Ninth Symphony), and the intellectual depth of pop star Helene Fischer. When Helene Fischer, in a red latex outfit and with orgiastic movements, belts out her song “Tell Me, Do You Feel That?” to an enthralled audience, it’s about as subtle as when the question, “Does it move you?” lights up the stage in large neon letters during the entire Finale of Fidelio. Obviously, the director Dittrich thinks the intellectually challenged audience needs to be awakened with a two-by-four. On top of that came the previously mentioned bombardment of deafening noise from the instrumentalists and chorus members scattered throughout the opera house.

The audience expressed its thanks for the din with a tormented mini-applause. If the goal of the staging was to summon the audience to political action in the present or to open contemporary music to a “broader audience” (Dittrich), one has to say in both cases: Mission failed. The well-known (to German speakers) “Hurz” skit by Hape Kerkeling describes quite aptly the reaction of most viewers, who have apparently grown accustomed for much too long to the outrageous demands of Regietheater and to the CCF’s cultural war, which is still ongoing.

Finally, a quote is in order from Alma Deutscher, who really can compose: “If the world is so ugly, why should we make it even uglier with ugly music?”

Before the example of Annette Schlünz is followed and other compositions of classical music are “raped,” in the spirit of Hans Neuenfels, this review should serve to launch a debate in the year of Beethoven on how to defend the classics against such assaults.

Celebrate This Year of Beethoven!

This Year of Beethoven, which will feature performances of many of the master’s compositions not only in Germany, but around the world, offers a wonderful opportunity for us to recall our better cultural tradition in Germany, to resist the moral decline of the past decades, and to find within ourselves, by consciously listening to Beethoven’s music, the inner strength to have our own creativity come alive.

The world is now in the midst of an epochal change, in which the era dominated by the Atlantic countries is clearly coming to an end, and the focus of development is shifting to Asia, where there are many nations and peoples who are very proud of their civilizations, and nourish their classical culture. Some of these civilizations are more than 5,000 years old. If Europe has anything to contribute to shaping in a humanistic spirit the new paradigm emerging in the world, then it is our lofty culture of the Renaissance and the Classics.

Many scientists, artists, and people appreciative of Germany all over the world have been wondering for some time now what is wrong with the Germans, that they have distanced themselves so much from being a people of poets and thinkers. If we let the Year of Beethoven be so ruined, then Germany will likely be written off for good as a cultured nation.

More discussion of this subject is needed and welcome.

hz.zepp@schiller-institut.de


[fn1] Regietheater, or “Directors Theater,” is a mode of performance of Classical drama and opera, whereby the director arbitrarily imposes modern (and usually degenerate) costumes and staging upon the production, thereby ripping the work out of its true historical context and ironies, and degrading the audience, the performers, and the composer himself.

[fn2] See Friedrich Schiller’s poem, “Die Kraniche des Ibykus” (“The Cranes of Ibycus”). Full text available here.


Webcast—Day of Action for a Unique Solution: Build Peace Through a Trump, Xi, Putin Summit

Helga Zepp LaRouche brought clarity to a situation which has left many people befuddled, disoriented, and/or fatalistic, as they try to make sense of the strategic danger following the assassination of Iranian leader Soleimani by the U.S. Starting with the stark warnings of Putin during his State of the Union speech, she showed that there are significant figures who understand why an emergency summit between Trump, Putin and Xi is needed, such as former German defense official Willy Wimmer, who said the assassination put the world on the verge of World War III.

She reviewed the role of the British in the unfolding of this crisis, tracing its roots back to imperial geopolitical policy of the mid-19th and 20th century, up through their role in shaping the war party in the U.S. today. The war drive is occurring as the neoliberal financial system is speeding toward a collapse. In this context, it is urgent that our viewers and supporters recognize how cooperation between the great powers, on strategic and economic policies, is the only way to overcome the dangers created by the empire.

She called on viewers to join the mobilization, and to master the great ideas necessary to avoid falling for the traps set by those who refuse to recognize that remaining within their paradigm will lead to the extinction of the human race.


Release: Schiller Institute Day of Action for Emergency Summit of Trump, Putin & Xi to Stop Danger of War

The Schiller Institute is organizing a Day of Action, Wednesday, January 15, to intensify support for the Institute’s January 7 “Call for Presidents Trump, Putin, and Xi To Convene an Emergency Summit to Address the Danger of War.” Activists on five continents will mobilize citizens, government officials, diplomats and institutions, in support of the call, which was authored by Schiller Institute President Helga Zepp-LaRouche.

January 15, which is the birthday of Dr. Martin Luther King, Jr., is the day of rallies and activity at appropriate locations, and on social media, websites, and all means of outreach. The Schiller Institute encourages all to commemorate the ideas and life’s work of Dr. King, by organizing for peace through economic development, as in the Call for the Emergency Summit.

The central international event will be at the United Nations in New York City, from 12 noon to 3 pm, Wednesday, January 15. Follow us on Facebook for on-the-ground reports from organizers throughout the world. To participate in New York, please contact: Lynne Speed, in New York, at (201) 562-9890.


Iran-Iraq-Syria Plan to Move Ahead on Historic Transnational ‘Land-Bridge’ Railroad

In November 2018, Iran, Iraq, and Syria reached a provisional agreement to build a “land-bridge” railroad and highway corridor extending from the Persian Gulf in Iran through Iraq to the Mediterranean port of Latakia in Syria, a distance of 1,570 km (975 miles). In combination with the Belt and Road Initiative, it could transform the intervening three nations. The construction of the first phase of the project is soon to begin.

The first phase is to build a 32 km railroad between Shalamcheh in southwestern Iran on the Iraq border, and Basra, Iraq. This involves building a few sections of rail line that are needed, and a bridge that would arch over the Arvand Rud/Shatt Al-Arab, a marsh-influenced waterway below the confluence of the Tigris and Euphrates Rivers.

The second, longer phase of the transport corridor would build the railroad, and some sections of highway, from Basra, 1,545 km to the Syrian port of Latakia on the Mediterranean.

The northern (red) and southern (green) routes of the land bridge. The southern route has upper and lower branches that pass, respectively, through al-Qaim/Albu Kamal and al-Tanf. Source: Adapted from map by Franc Milburn in Strategic Assessment (Israel) and updated by Hussein Askary.

The northern (red) and southern (green) routes of the land bridge. The southern route has upper and lower branches that pass, respectively, through al-Qaim/Albu Kamal and al-Tanf. Source: Adapted from map by Franc Milburn in Strategic Assessment (Israel) and updated by Hussein Askary.

With this as a backbone, goods and people could move from Iran, northward by the North-South corridor; from Iran eastward to China and the Pacific; or from Latakia, Syria westward to the Atlantic. This is especially important for the peoples of these three nations, who have been ravaged by war for decades. A tripartite meeting in July 2019 among the three nations’ transport officials confirmed “that the goal of the negotiations is to activate the Iranian-Iraqi-Syria load and transport corridor as a part of a wider plan for reviving the Silk Road.”

This transnational railway meshes perfectly with the plan that Iraqi Prime Minister Adil Abdul-Mahdi signed during his signed Sept. 19-23, 2019 visit to Beijing, to set up an Iraqi-Chinese Reconstruction Fund, into which Iraq could deposit the revenues of 300,000 barels of oil/day, against which Chinese banks will issue credit to Chinese companies to reconstruct Iraq.

The financing for the transnational railway project was lined up when on Sept. 18, 2019, with the announcement that Iran’s Mostazafan Foundation, which is a large semi-Hamiltonian organization that runs hundreds of factories and commercial enterprises, would advance the majority of the financing.

A difficulty is that one of the Mostazafan’s companies, the Sina Bank, has been sanctioned by the United States, and it is not clear if the sanctions announced Jan. 10, 2020 by U.S. Treasury Secretary Steven Mnuchin and Secretary of State Mike Pompeo will block even more of the Mostazafan Foundation’s activities, which could blow up the entire transnational project.

This leads to a higher point: the relentless attack on this region is the British Empire venom against the Belt and Road Initiative, the development of this region, and the world. Helga Zepp-LaRouche’s proposal to convene a three Presidents summit is urgent to raise the world to a higher dimensionality of thinking.


Call for Presidents Trump, Putin & Xi to Convene Emergency Summit to Address Danger of War

If the world is to escape a spiral of retaliations and counter-retaliations in the wake of the the killing of Iranian Major General Qasem Soleimani and Iraqi Popular Mobilization Units Deputy Commander Abu Mahdi al-Muhandis , the Presidents of the United States, Russia and China must convene an emergency summit to address the current crisis in Southwest Asia and the solutions to that crisis.

Seventy-five years ago, the United States, Russia and China were joined together in the global fight which defeated fascism, and today, these Presidents must act in concert to save the peace.

On January 3, Schiller Institute founder Helga Zepp-LaRouche issued an emergency statement which concluded,

“It is clear, that among the three presidents, President Trump—who promised to end the endless wars and has already taken several steps in that direction—and Presidents Putin and Xi, there is the intention and the capability to outflank the maneuvers of the war-mongers and to establish a higher level of cooperation. That potential is the reason that the coup—Russiagate and now the Impeachment—are orchestrated against Trump. It is now the time for those three outstanding leaders to fulfill the potential that historical providence has bestowed upon them.”

The Crisis

Every world war and major war of the past century has been triggered by the British Empire’s geopolitical policy of permanent warfare, throwing nations against each other to maintain their power as a global elite.

Nowhere have the effects of that evil imperial policy of pitting nations, peoples, religions and factions against each other been more evident than in the Mideast, where that policy was codified by the Sykes-Picot Treaty established by the British and French imperial powers after World War I.

Understanding that history, Lyndon LaRouche, in a speech delivered 15 years ago, provided the framework in which to understand and act on today’s crisis.

“And when you look at the possibilities for this region, like Southwest Asia, the only chance will come, not from inside Southwest Asia. We will do, and must do, what we can, for that area, to try to stop the bloodshed, the agony, to prevent the war. But we will not succeed, until we change the history, change the world in which this region is contained.”

The Solution

Therefore, we call on President Trump to meet with Presidents Putin and Xi to not only address the immediate danger of war in Southwest Asia, but to do so with permanent effect by creating a New Paradigm for the world—to change the world, as LaRouche said.

Such a paradigm must be based on the principles of the Treaty of Westphalia, which ended the Thirty Years War in Europe. Warring nations broke the cycle of retribution and revenge and acted for the “advantage of the other.”

Such a paradigm must end geopolitics and imperialism, and establish a new financial and strategic architecture for the world, based on defense of the sovereignty and cultural integrity of all nations.

The U.S., China, Russia and other nations such as India, must act to establish a joint plan for the economic development of the entire region, informed by policies put forward by Lyndon LaRouche and Helga Zepp-LaRouche over the decades, and now given life by China’s Belt and Road Initiative.

Such a policy will realize LaRouche’s vision: “There is a solution, a solution in principle. And the solution is: End this blasted imperialist system! And understand that we, as a people, must develop our spiritual culture; that is, the creative powers of mankind, to carry further the development of mankind.”

A PDF of this call to action can be found here.


Webcast—An Emergency Trump-Putin-Xi Summit Is the Only War-Avoidance Solution

Helga Zepp-LaRouche reiterated her call for an emergency summit between presidents Trump, Putin and Xi to diffuse tensions in the Middle East and create a comprehensive peace plan for the region. While the shock of the U.S. drone strike killing Iranian Gen. Soleimani put the world on the path towards a much greater conflict, it also provided a sobering moment which made unambiguously clear that a comprehensive peace plan must be the priority, and that can only happen with the collaboration between the U.S., Russia, and China.

Helga refers to Patrick Lawrence’s latest article in Consortium News where he calls the drone strike a “palace coup” by members of the State and Defense Departments. Read his full article here.


Virginia Schiller Chorus Draws Its Largest Crowd New Year’s Day

On Wednesday, January 1, 2020, the Virginia Schiller Institute Community Chorus and friends, hosted their largest ever New Year’s Concert featuring timeless choral pieces from Bach, Beethoven, Mozart, Brahms, Verdi, and Dvorak.

Our concerts are becoming a growing institution in the area, not just for audience members, but for local musicians who like performing with us. A talented violinist, who is a regular on the “classical music scene” in DC/Northern Virginia, remarked that he always appreciates the openness of our audiences, seeing “normal” people genuinely appreciating the beauty of the pieces, as opposed to the “professional audiences” he so often performs for, who are more concerned with “being seen” at such events, than letting the music move them.

The audience was full and diverse. Choral directors from churches across the area came to hear the concert, political contacts of the Schiller Institute attended, including an Ambassador and his family from a Southeast Asian country, music students, and others who ventured out to find something different than watch football on New Year’s Day!

The program of the event is below. Audience members were given the text and translations for each of the pieces to follow along.

Beethoven, Die Ehre Gottes aus der Natur
Haydn, Die Himmel Erzälen, from The Creation
Brahms, Wie lieblich sind deine Wohnungen, from German Requiem
Bach, Quia Respexit, Omnes generationes
Handel, Ombra mai fu, tenor, Reginald Bouknight
Puccini, Recondita armonia, from Tosca, tenor, Reginald Bouknight
Mozart, In uomini, in soldati, from Così fan tutte, mezzo, Pamela Butler
Beethoven, Harp String Quartet, op. 74 (1809), I. Poco adagio – Allegro

Intermission

Mendelssohn, Neujarhslied
Beethoven, Serenade, op. 25 (1796), VI. Adagio – Allegro vivace e disinvolta
Kreisler, Praeludium and Allegro (1905)
Mozart, Laudate Pueri, from Solemn Vespers
Verdi, Va Pensiero, from Nabucco
Dvorak/Fisher, Goin’ Home
Hall Johnson, Lord, I Don’t Feel No Ways Tired
Handel, Worth is the Lamb, Amen, from The Messiah
Joy to the World, Everyone sing!

The fact that these were seemingly “ordinary” people from the community performing these masterful pieces in a local church was not lost on the audience. In fact, it seemed to enrich the event for people, many who then asked themselves, “well, maybe I could sing?”

The other remarkable part of the this and other concerts the Schiller Institute hosts, was articulated best by our director, Mike Billington in remarks he made on a LaRouchePAC Fireside Chat broadcast,

“It was a concert of Beethoven, Brahms, and other great Classical choruses, with some wonderful professionals, who volunteer their time to come and play with us, because they love to work with us because of our commitment to the idea of the aesthetic education of the population. The fact that this many people from all walks of life showed up in Leesburg, Virginia to watch a Schiller Institute Community Chorus concert, I think in itself reflects the transformation that’s taken place in the United States; and the potential of the LaRouche message — the slanders and the attacks that characterized the treatment of LaRouche over these years, including his incarceration, is no longer believed.”

 


Helga Zepp-LaRouche Statement on the Assassination of Qasem Soleimani

by Helga Zepp-LaRouche, founder of the Schiller Institute

Immediate Emergency Summit Among Presidents of US, Russia and China to Save World Peace and Define Cooperation Among the Countries Who defeated Fascism 75 Years Ago!

With the assassination on Jan. 3 of Iranian Maj. Gen. Qasem Soleimani, Commander of the Revolutionary Guards Quds Brigade and a national hero in Iran, as well as Abu Mahdi al-Muhandis, the deputy commander of the Popular Mobilization Forces of Iraq, through a drone attack near the Baghdad International Airport, the world is confronted with the danger of an escalation of retaliations and counter-retaliations, which could not only lead to a war in the entire southwest Asian region, but beyond.

The Pentagon issued a statement, accompanying President Trump’s signing of the attack order, that Soleimani “was actively developing plans to attack American diplomats and service members in Iraq and throughout the region.” The statement claims that General Soleimani and his Quds Force were responsible for the death of hundreds of Americans and wounding of thousands more, and that the strike was aimed at deterring future Iranian attack plans.

As the spokeswoman of the Russian Foreign Ministry, Maria Zakharova, pointed out, it was the UN Security Council’s purview to make a legal assessment of attacks on countries’ embassies, and that Washington had not requested an extraordinary UN Security Council meeting on the issue. Obviously the Pentagon did not see a need to do that, since the 2001 AUMF makes it legal for the US military to attack any armed group deemed to be a terrorist threat. The official designation as “terrorist” of the IRGC in April 2019 by the US State Department—a move which was strongly supported by then National Security Adviser John Bolton and Secretary of State Mike Pompeo—made it “legal” for the US Armed Forces to attack individuals associated with the IRGC under any circumstances that may occur. At that point Col. Pat Lang wrote in his blog:

“The neocon nitwits (Pompeo, Bolton, Hannah, etc.) may think that Iran’s reaction to this declaration of war will be submission to their will, but IMO [in my opinion] that is very unlikely. IMO it is more likely that the IRGC will absorb the new reality and will prepare for war with the US.”

Unfortunately, with the assassination of Soleimani, Col. Lang’s warning that the Foreign Terrorist Organization (FTO) designation could lead to a war with Iran has come closer to coming true. So, while Bolton is out of the administration, his confrontational policies have created a very dangerous heritage—a set up for war—for Trump. And, no surprise, Bolton said in a twitter posting this morning: “Congratulations to all involved in eliminating Qassem Soleimani. Long in the making, this was a decisive blow against Iran’s malign Quds Force activities worldwide. Hope this is the first step to regime change in Tehran.”

As would be expected, Iran’s Supreme leader, Ali Khamenei, promised “harsh revenge,” and large crowds assembled in various Iranian cities screaming death threats to Trump and expressing their hatred for Americans. Whatever the views of other forces in the West and in southwest Asia are of Soleimani, it is a fact that he has probably done more than anyone to contribute to the defeat of ISIS, Daesh, al Nusra, al Qaida etc., and represents a national hero in the eyes of the Iranians. As is also to be expected, various Iranian proxies in the region have immediately promised revenge actions, while the Iraqi Government has announced it will introduce legislation in the Iraqi parliament on Jan. 4 to end the legal basis for the American military presence in Iraq.

Given the extreme complexity of the history of southwest Asia in terms of ethnic and religious strife, the century-old manipulations by (primarily) the British Empire with the Great Game against Russia, and with the entanglement in this region of all the world’s nuclear powers, there is no question but that this present escalation has the potential of getting completely out of control, no matter what the forces involved in the coup against President Trump may think. If there is anything one can learn from military history, it is the recognition that wars almost never go as planned. If people would have known how World War I and II evolved, they would not have started them. Before any further escalation between the US, Iran and their proxies occurs, all peace loving people in the world should support an immediate summit among the Presidents of the US, Russia and China, now, in the spirit of the Meeting at the Elbe.

It is clear, that among the three presidents, President Trump—who promised to end the endless wars and has already taken several steps in that direction—and Presidents Putin and Xi, there is the intention and the capability to outflank the maneuvers of the war-mongers and to establish a higher level of cooperation. That potential is the reason that the coup—Russiagate and now the Impeachment—is being orchestrated against Trump. It is now the time for those three outstanding leaders to fulfill the potential that historical providence has bestowed upon them.


In 1999, Lyndon LaRouche warned in a national television broadcast “Storm Over Asia” that the western-backed jihadist mercenary forces unleashed in the 1970s, were created as part of a global strategy to undermine the major powers of China, India and Russia. These mercenary wars, if not stopped, LaRouche warned, would leave these major powers no other option but to defend themselves against these mercenaries and their sponsors, potentially leading to a World War III scenario.

Over twenty years old, this keystone presentation by Mr. LaRouche is still fundamental for understanding the present geopolitical dynamics shaping the planet today.


Necessary Background on Iran Situation

Here are some important statements about the Iran situation, seen from a global perspective.


The US unwittingly helped create Qassem Soleimani, then they killed him, by Scott Ritter

Scott Ritter is a former US Marine Corps intelligence officer. He served in the Soviet Union as an inspector implementing the INF Treaty, in General Schwarzkopf’s staff during the Gulf War, and from 1991-1998 as a UN weapons inspector.


The British Creation and Control of Islamic Terror — The Background to China’s Defeat of Xinjiang Terrorby Mike Billington

Mike Billington is a long-time associate of Mr. LaRouche. This excerpt from a recent discussion provides the history of British sponsorship or terror in Southwest Asia.


Did Donald Trump Light the Fuse on a New Middle East War?by Larry Johnson

Larry C. Johnson is a former analyst at the U.S. Central Intelligence Agency.


Below is an excerpt from the latest memo from the Veterans Intelligence Professionals for Sanity, a group of former military and intelligence officers founded by former CIA analyst Ray McGovern. The letter excerpted below is posted on Consortium News.

VIPS MEMO: Doubling Down Into Yet Another ‘March of Folly,’ This Time on Iran

January 3, 2020
MEMORANDUM FOR: The President
FROM: Veteran Intelligence Professionals for Sanity (VIPS)
SUBJECT: Doubling Down Into Another “March of Folly”?

“The drone assassination in Iraq of Iranian Quds Force commander General Qassem Soleimani evokes memory of the assassination of Austrian Archduke Ferdinand in June 1914, which led to World War I. Iran’s Supreme Leader Ayatollah Ali Khamenei was quick to warn of “severe revenge.” That Iran will retaliate at a time and place of its choosing is a near certainty. And escalation into World War III is no longer just a remote possibility, particularly given the multitude of vulnerable targets offered by our large military footprint in the region and in nearby waters.

“What your advisers may have avoided telling you is that Iran has not been isolated. Quite the contrary. One short week ago, for example, Iran launched its first joint naval exercises with Russia and China in the Gulf of Oman, in an unprecedented challenge to the U.S. in the region.”

Read full article >>>


Page 1 of 24123...Last