Dear Young People, Don't Vote 2.00

C'mon, people, just hold your noses and vote Jennifer Dokes viewpoints editor | azcentral.com Published 4:00 p.m. MT Oct. 31, 2014 Voting has been a hold-your-nose affair for several election cycles. This one seems worse, mostly because of the amount political muck put at voters' feet. It was deep. Thanks to those who trudged through it to do the essential work of choosing leaders and answering questions that define us. Too many people won't bother. Shame on campaign gurus for creating a culture of crud. Shame on non-voters for not even bothering to hold their noses.

Is this the ‘hold your nose’ election? Record-breaking numbers set to vote tactically Author: Sabine McGinley, Posted on the 4th December 2019 Polling from BMG research for the Electoral Reform Society has revealed that a record-breaking 30% of the public plan to vote ‘tactically’ in the next General Election. Tactical voting occurs when voters choose the best-positioned party or candidate in order to keep out another party that they dislike… as opposed to actually voting for their preferred candidate. Research carried out by BMG revealed that in the upcoming election, only half (51%) of all the electorate are likely to vote for “the candidate or party they most prefer regardless of how likely they are to win”.

Why Americans Don’t Vote (and What to Do About It) | NYT Opinion @nytimes 3:36 https://www.youtube.com/watch?v=PajchobBI9k

Why don’t Americans vote? @WashingtonPost 2:09 https://www.youtube.com/watch?v=kQsBnn1UCmU

Why don't young people vote? @universityofmanitoba 1:58 https://www.youtube.com/watch?v=-9pYF2OFIsU

Why Some Americans Think Voting Isn’t Worth the Hassle | Amanpour and Company Amanpour and Company 18:10 https://www.youtube.com/watch?v=AeVDF2eRR4c

Youth Voter Turnout: Why Is It So Low? @AboveTheNoise 6:19 https://www.youtube.com/watch?v=p25BMBVGd0E

The Cultural Cold War: The CIA and the World of Arts and Letters Intelligence in Recent Public Literature By Frances Stonor Saunders. New York: The New Press, 2000. 509 pages. Reviewed by Thomas M. Troy, Jr. Troy, Thomas M. (Central Intelligence Agency, Apr 14, 2007): "The Cultural Cold War: The CIA and the World of Arts and Letters: Intelligence in Recent Public Literature". Available (1398/04/27) online at: https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-publications/csi-studies/studies/vol46no1/article08.html If The Cultural Cold War had been published in the 1960s or 1970s, it most likely would have caused a sensation and been a best seller. It would have provoked anguished editorials in major Western newspapers and a barrage of "we-told-you-so" items in the communist-controlled media. Published at the turn of the century, however, the book is something of a curiosity.1 It contains a long cry of moral outrage over the fact that the CIA committed "vast resources to a secret program of cultural propaganda in western Europe."2 At the same time, the author, an independent filmmaker and novelist, has produced a well-written account of a basically unfamiliar story with a cast of many larger-than-life characters who played roles in the Cold War. To over-simplify the historical background: In the late 1940s, Washington did not take it for granted that the people in Western Europe would support democratic governments and that their states would effectively oppose the Soviet Union and support the United States. To help promote democracy and to oppose the Soviet Union and West European communist parties, the CIA supported members of the non-communist left, including many intellectuals. Because the CIA's activities were clandestine, only a few of the beneficiaries were witting of the Agency's support, although a large number suspected Agency involvement. Frances Saunders evidently was dismayed and shocked! shocked! to learn there was gambling in the back room of Rick's café. She finds the Agency's activities to be reprehensible and morally repugnant and believes that the CIA's "deception" actually undermined intellectual freedom. She rejects the "blank check" line of defense offered by some people that the Agency "simply helped people to say what they would have said anyway."3 She reminds readers that the CIA overthrew governments, was responsible for the Bay of Pigs operation and the Phoenix Program, spied on American citizens, harassed democratically elected foreign leaders, and plotted assassinations. The CIA denied these activities before Congress and, "in the process, elevated the art of lying to new heights."4 Ms. Saunders vents her spleen mainly in her introduction, but in the text she repeatedly returns to the theme that the CIA injured the cause of intellectual freedom by clandestinely supporting (oh, irony of ironies!) champions of intellectual freedom. Not adverse to using clichés, Saunders refers to the CIA at various times as a "wilderness of mirrors," an "invisible government," and a "rogue elephant." According to Saunders, the list of CIA covert activities during the 1950s and 1960s is long. The Agency subsidized European tours of the Boston Symphony Orchestra and paid for the filming of George Orwell's 1984 and Animal Farm. It clandestinely subsidized the publishing of thousands of books, including an entire line of books by Frederick A. Praeger, Inc., and the renowned work by Milovan Djilas, The New Class . It bailed out, and then subsidized, the financially faltering Partisan Review and Kenyon Review .

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