THE WWII COVERT WAR FOR OIL IN IRAN

Nazi Secret Warfare in Occupied Persia (Iran): 

The Failure of the German Intelligence Services, 1939-45

2014

A. O'Sullivan 

A pioneering investigation into the secret world of wartime Persia (Iran), meticulously sourced and based on six years of extraordinarily wide and deep research in the German, British, and American archives. This study exposes the problems, pressures, and personalities among the competing German intelligence services that targeted Persia, and it describes the highly effective methods employed by the implacable Allied security forces that resisted them. It tells a riveting tale: there are parachutists, gold, guns, dynamite, double agents, mistresses, and Byzantine intrigues galore in this compelling historical narrative. At the same time, as a serious academic study and a penetrating analysis of catastrophic intelligence failure, Adrian O'Sullivan's book is a highly significant contribution to Second World War intelligence history. Available only by purchase or through your library.

Location: Basingstoke

More Info: ISBN 9781137427892

Publisher: Palgrave Macmillan

Publication Date: Aug 1, 2014

Espionage and Counterintelligence in Occupied Persia (Iran): The Success of the Allied Secret Services, 1941-45

2015

A. O'Sullivan 

Nominated for The 2016 Cundill Prize in Historical Literature. A companion to the pioneering Nazi Secret Warfare in Occupied Persia (Iran), which told of Germany's spectacular failure in the region, this carefully researched study of British, American, and Soviet success makes for fascinating reading. Espionage and Counterintelligence in Occupied Persia (Iran) introduces us to Allied and Axis spies, spycatchers, and spymasters and to the highly effective methods employed by regional security forces to safeguard the lines of communication, the Lend-Lease supply route from the Gulf to the Caspian, and the vital oilfields, pipelines, and refineries of Khuzistan from Nazi attack and indigenous sabotage. Of particular interest in this study of neglected operational narratives and key clandestine personalities is its lucid description and analysis of Anglo-American and Anglo-Soviet intelligence relations, as the three Allies moved inexorably towards postwar realignment and the Cold War. Available only by purchase or through your library.

Location: Basingstoke

More Info: ISBN 9781137555564

Publisher: Palgrave Macmillan

Publication Date: Oct 8, 2015

Black Mask (UAW/MF) was an anarchist affinity group started by artists & based in NYC in the late 60s. This "street gang with analysis" was famous for its direct action. All issues of their zines are now available here in PDF format: https://bit.ly/2Fg9FLs

9:31 AM · Apr 25, 2018·Twitter Web Client

Trystes Cosmologiques: When Lévi-Strauss Met the Astrologers

Graham Douglas

In October 1969 the famous anthropologist Claude Lévi-Strauss gave an interview to the well-known French astrologers André Barbault and Dr Jean-Paul Nicola for the astrology magazine L'Astrologue. To the author's knowledge this interview has never been discussed in academic journals, and is here published for the first time in English translation. It is considered in the context of its time, and of the issues discussed: the Surrealist movement, which had an important influence on Lévi-Strauss's early work; the structure of the unconscious mind; and the question of causation in astrology. At the end of the interview Lévi-Strauss suggested a joint project with his interviewers to study the interpretations of serious astrologers as a way of understanding how their minds work. According to Dr Nicola, the suggestion was never developed because in his opinion there was no chance of getting astrologers to agree on how to go about it. In the last 20 years however, several theses have been devoted to similar projects.

ANDRE BARBAULT PASSED ON THROUGH THE DUAT TO NUIT
OCTOBER 2019

Astrology : History of a Prediction by André Barbault - CURA

cura.free.fr › quinq

For a critical review of predictive astrology, see Jacques Reverchon: "Value of the Astrological Judgements and Forecasts", CURA, 2003. ... It is thus that the Saturn-Neptune cycle will become the primary terrain I explore. The twentieth issue of Cahiers Astrologiques (March-April 1949 ...

André Barbault — Wikipédia

https://fr.wikipedia.org › wiki › André_Barbault

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André Barbault, né à Champignelles (Yonne) le 1 octobre 1921 et mort le 8 octobre 2019 à Labaroche (Haut-Rhin), est un astrologue français. Il a été à l'origine ...

André Barbault - At the Crossroads of Time | Articles - Lynn Bell

https://www.lynnbellastrology.com › articles › andre-barbault

by Lynn Bell. This article was published in 2018 and we are posting in memory of André Barbault who passed away this year. I remember my first encounter with ...

Mundane astrology master André Barbault... - The Astrological ...

https://www.facebook.com › AstrologicalJournal › posts › mundane-astrol...

Mundane astrology master André Barbault has passed away, age 98. And we have just lost Ed Tamplin. We shall remember both in The Astrological Journal....

André Barbault - Urania Trust

https://www.uraniatrust.org › celebrated-astrologers › andre-barbault

André Barbault was a prominent French astrologer and writer, the author of over 50 books. His special interest has been in Mundane astrology and how ...

The Reference in Astrology: 

The idea of Astroflash dates back to 1966 when an important product manager Mr. Roger Berthier, co-founder of the Euromarche supermarket chain, had the idea to offer to its customers their horoscope. André Barbault, the most famous French astrologer, author of numerous works, like the celebrated Zodiac Collection (Seuil) was contacted. After 8 months of teamwork with computer analysts, a first astrological product, placing side by side a psychological portrait and a long term calendar was born.Because of its initial success, they decided to market and sell the horoscope by mail-order . An advertising campaign started in 1967 and perfected by Publicis lasted until April 1968. Although the topics developed in the ads were inspired by extensive psychological analysis, their effectiveness remained mediocre.They soon discovered, however, that a press meeting was a means to attract a large number of customers. This was in May of 1968 - in a car-shop on the Champs Elysées: the "computer - astrologer" attracted the masses. The possibility to immediately obtain a personalized horoscope anonymously, and for a moderate price, proved to be conclusive.

The Astroflash Center opened its doors in September of 1968, being the first client to rent a space in the Galerie des Champs, located at 84, Avenue des Champs Elysées, in Paris: a place visited daily by thousands of people. Now the number of daily Astroflash customers is around 100 to 200. So a total of 70,000 people per year, not including mail orders.

Women come in first at around 62%.- Young people are the most interested ?- One customer out of every two is under 30.?- High income customers are outnumbered.?- Foreigners: 15 to 20%.Every social strata show an interest in Astroflash.??Famous figures coming from the Political, the Entertainment as well as the Sports World have had their horoscopes done by Astroflash. General de Gaulle's horoscope remains famous...

Since 1968, Astroflash has been creating new products and perfecting them, investing constantly, as well as translating the products in many different languages (French, English, German, Spanish, Portuguese, Italian, German, Greek, Lithuanian, Russian, and Danish).The range of horoscopes consist of essentially psychological portraits - with a special version for children. A search of affinities among partners (comparative birth charts) and long-term forecast horoscopes (6 month, solar returns).Astroflash also places a Map of the Heaven at astrologers, professionals or amateur's disposal.

Reasons for success are first the customer's satisfaction who comes from the quality of our studies: all without exception are conceptualized by two famous French astrologers: André Barbault and Jean-Pierre Nicola. Secondly, after having been stated, the elements taken into account are interpreted. The interpretation of the birth charts is made according to tradition - enriched by new elements of modern psychology.

A Visual World: Leonora Carrington
and the Occult (2014)

Wouter J. Hanegraaff

Abraxas: International Journal of Esoteric Studies 6 (2014), 101-112.

Yippie! Pop 

Abbie Hoffman Andy Warhol and Sixties Media Politics

DAVID JOSELIT

In his 1968 manifesto,Revolution for the Hell of lt,  Abbie Hoffman wrote:

Did you ever hear Andy Warhol talk? ...Well,I would like to combine his style and that of Castro's. Warhol understands modern media. Castro has the passion for social change.It's not easy. One's a fag and the other is the epitome of virility. If I were forced to make the choice I would choose Castro,but right now in this period of change in the country the styles of the two can be blended. It's not guerrilla warfare but,well maybe a good term is monkey warfare. If the country becomes more repressive we must become Castros. If it becomes more tolerant we must become Warhols. 1

Castro and Warhol:what strange bedfellows And indeed Hoffman hints at a queer union-why else would he explicitly label Warhol a"fag"?But for Hoffman,the yippie! activist who built a movement by capturing free publicity on TV,the nature of this fantasy is genealogical not erotic.2 In their combination of radical politics and a  ruthless understanding of media culture, yippie!s are indeed the legitimate progeny of Castro and Warhol. 

What is puzzling and exhilarating in Hoffman's pairing is the political distinction he draws between his two progenitors:"If the country becomes more repressive we must become Castro s. If it becomes more tolerant we must become Warhols."The first half of this prescription is ordinary enough. When times are bad,activists use force. But the second part is mystifying.Warhol-the paragon of indifference and passivity,the celebrity groupie and ambitious art world operator- is held up as a model of politics appropriate for "tolerant times." In this essay I will reflect on this surprising assertion. I will try to understand Hoffman's declaration by sketching out what a Warholian politics might be and why it is particularly well-suited to"tolerant times."Before I turn to Warhol,I need to establish Hoffman's under-standing of media politics. And for this there is no better source than Hoffman himself. Yippie! actions were premised on soliciting and addressing the media through what Daniel Boorstin famously called pseudo-events. 

READ ON 

Only the Shadow Knows: Andy Warhol's Art of Self-Invention and the Legacy of Man Ray

Reframing Andy Warhol: Constructing American Myths, Heroes, and Cultural Icons, 1998

Wendy A Grossman

As an American artist who transcended his ethnic immigrant roots, Man Ray blazed a trail that Andy Warhol would follow in the next generation. Obsessed with the public perception of his work and his legacy, Man Ray innovatively employed self-portraiture as key to the construction of his persona just as would Warhol decades later. In the great distance between their ethnic roots and the cosmopolitan figures they were to become, the range of self-portraits both artists created played a fundamental role in this transformation. Although Man Ray’s self-portraits are intricately related to the construction of modernism and Warhol’s work in the same vein relates to the process of its deconstruction, their self-portrayals are bound by the same obsessive desire to control and fabricate their public image. As the sons of Eastern European immigrants, neither ever fully shed the sense of himself as outsider, ultimately adopting a notion of marginalized observer as intrinsic to his artistic persona. Whether in the avant-garde Parisian circles between the World Wars or in the celebrity spotlight of the sixties Pop scene, both artists straddled the border between participants and observers in their lives and their art.

Page Numbers: 18-26

Publication Date: 1998

Publication Name: Reframing Andy Warhol: Constructing American Myths, Heroes, and Cultural Icons

Andy Warhol: Consumer Researcher

Jonathan E. Schroeder (1997) ,"Andy Warhol: Consumer Researcher", in NA - Advances in Consumer Research Volume 24, eds. Merrie Brucks and Deborah J. MacInnis, Provo, UT : Association for Consumer Research, Pages: 476-482 Jonathan Schroeder 

Jonathan Schroeder

This paper "breaks out of the box" by discussing the work of the artist Andy Warhol as a form of consumer research. The paper asserts that Warhol’s career- successful artist, experimental filmmaker, prolific writer and diarist, celebrity-offers insights into consumer culture that reinforces, expands, and illuminates aspects of traditional consumer research. Through illustrations, criticism, and interpretation, five specific areas of consumer research that Warhol’s work might contribute to are introduced: brand equity; clothing, fashion and beauty; imagery; packaging; and self-concept. This project joins recent efforts by consumer researchers to include humanities based methods such as literary criticism and semiotics into the consumer researcher’s toolbox.

Andy Warhol, Campbell’s Soup Can and Dollar Bills, 1962

The Divine Simulacrum Of Andy Warhol:Baudrillard's Light On The Pope Of Pop's"Religious Art"

a review of

The Religious Art of Andy Warhol, Jane Daggett Dillenberger. (New York: Continuum,1998); 128 pages, $39.95.

By Benjamin Bennett-Carpenter 

From explicitly religious art to art that ‘is, but isn’t’ “religious,” from that which lies beyond art, such as objects of veneration, to a postmodern iconography of simulacra,Andy Warhol contributes significantly to the negotiation of twentieth, and now twenty-first,century culture in America and beyond. His influence on contemporary art, religion and culture is recognized and will continue to increase as thinkers pursue questions about image and reality, representation, originality, visual culture, identity, and sexuality, not to mention technology, spirituality, business, and God. Of Warhol’s multiple contributions, several stand out in particular. Warhol’s explicitly religious art, especially brought to light in Jane Daggett Dillenberger’s recent publication,

The Religious Art of Andy Warhol, reveals a transformation of traditional religious images and themes into lively twentieth century religious art. But beyond his explicitly religious works as highlighted by Daggett Dillenberger’s book, one can see that Warhol’s entire oeuvre has “religious” qualities,producing an art that ‘is, but isn’t,’ religious. Further, Warhol is significant for his part in what Jean Baudrillard calls the ‘disappearance of art,’ a kind of transfiguration of art into objects of veneration. Finally, in line with Baudrillard’s thought regarding the ‘successive phases of the image’ and the ‘disappearance of God’ into simulacra, Warhol produces images like that of Marilyn Monroe that no longer represent reality but offer a simulacra, never-ending play of signs among signs stretching to infinity.

The Religious Art of Andy Warhol

As early as 1964, Warhol received the tag of “Saint Andy.”[1] This title, however, referred more to his immense popularity among the young Pop and independent film crowd, and to the authentically innocent facade of Warhol’s physical appearance than to religious devotion. Not until his death did news of Warhol’s relationship to the spiritual come to serious attention by the public. John Richardson’s eulogy of Warhol at his memorial mass at St. Patrick’s Cathedral in the spring of 1987 asked his audience to “recall a side of [Warhol’s] character that he hid from all but his closest friends: his spiritual side,”

Andy Warhol: Sixty Last Suppers

Gagosian Quarterly , 2017

Jessica Beck

Andy Warhol's Confession: Love, Faith and AIDS

Andy Warhol: From A to B and Back Again , 2018  

Jessica Beck

Jessica Beck

Jessica Beck is the Milton Fine Curator of Art at The Andy Warhol Museum. Beck has curated many projects, including "Andy Warhol: My Perfect Body" and "Devan Shimoyama: Cry, Baby," the artist’s first solo-exhibition, which debuted at The Warhol in the fall of 2018 to great acclaim from The New York Times and The Burlington Contemporary. Beck has published with The Whitney Museum of American Art, The Cantor Center for the Arts, Gagosian Quarterly, and Burlington Magazine. Outside of The Warhol, Beck served as the visiting scholar at Carnegie Mellon School of Art from 2017-2018. She completed her MA with distinction from the Courtauld Institute of Art.

Andy Warhol’s Ancestry: Facts, Myths, and Mysteries

Elaine Rusinko

Associate Professor Emerita

University of Maryland, Baltimore County

January 7, 2019

Andy Warhol is the most famous American of Carpatho-Rusyn descent, but questions about his ethnicity persist. This study explores the Warhola-Zavacky family’s ethnic background and traces Warhol’s ancestry based on archival evidence, uncovering new, unanticipated information.

When asked about his background, Andy Warhol told his associate and biographer Bob Colacello,“I come from nowhere.” Rarely noted is the fact that his uncertain geographical origin was amplified by a genealogical void. He confided to Colacello, “I never had a grandmother. Isn’t that strange?”

 To be sure, Andy never knew his grandparents, who lived and died in Europe, but they surely endured in the shadows of memory. His brother Paul recalls, “Mother

often talked about the relatives in Miková. She used to t=ell stories about the grandparents.”

 And according to Andy’s brother John, his mother Julia Zavacky was concerned that the history of “where I came from” would be lost  after her death, and therefore she told her children “such good stories.”

 Unfortunately, those stories were not recorded contemporaneously. Instead, they were handed down in myths and legends, with more or less credibility. Of special interest for Warhol’s genealogy is a family story, told to Colacello by second-generation American Warhol as, that one of Julia’s grandmothers was Jewish. From this, he that the Zavackys’ “Jewish blood” made them “outsiders among outsiders. (Like Andy.)”

While Colacello’s conclusion is contradicted by evidence of an extensive Zavacky

familial and communal network, there is, in fact, some mystery surrounding Julia’s maternal

line. And while it is not unusual for Rusyn-American families to pass down legends of a mysterious Jewish or “Gypsy” member of the family tree,such tales rarely stand up to scrutiny.Although they may contain a kernel of truth, family tales often cloud, rather than clarify, the picture.

Andy Warhol’s Carpatho-Rusyn background

Starting with the ethnic label, Carpatho-Rusyn, a few words of background are in order.Carpatho-Rusyns, also known as Rusyns, Rusnaks, Carpatho-Russians, and Ruthenians, are astateless people whose homeland today straddles the borders of five European countries.

"We Are All Warhol's Children: Andy and the Rusyns"

The Carl Beck Papers in Russian and East European Studies, 2012 

Elaine Rusinko

Andy Warhol is the world’s most famous American of Carpatho-Rusyn ancestry, and the icons of the Ruthenian Byzantine Catholic Church were his first exposure to art. His unexpected death in 1987 was followed by the fall of communism in Eastern Europe and the rise of the Rusyn movement for identity, which embraced the flamboyant pop artist, filmmaker, and jet setter as their iconic figurehead. From their own idiosyncratic perspective, the traditional, religious, provincial Rusyns have reconstructed the image of Andy Warhol, pointing up aspects of the artist that have gone largely unnoticed. In a reciprocal process, Andy has had a significant impact on the Rusyn movement and on the recognition of Rusyns worldwide. This study establishes Warhol’s Carpatho-Rusyn ethnicity and explores its possible influence on his persona and his art. It also analyzes the Rusyns’ reception of Warhol, with a focus on the history of the Warhol Museum of Modern Art in Slovakia. The author concludes that recognition of the Rusyn Andy contributes to a distinctive perspective on the American Warhol.

Publication Date: 2012

Publication Name: The Carl Beck Papers in Russian and East European Studies

Y. Nakonechnyi Stolen Name. Why Rusyns Turned into Ukrainians

Natalia Pavliuk

Translation from Ukrainian.
Stolen Name, Why Rusyns Turned into Ukrainians is one of his publications where history studies are combined with linguistic research, which made it possible to provide a complete picture of the Ukrainian history through the life of the name of our nation, starting from the earliest years to the present-day.
The books reveals precise facts from the history of Ukraine and Russia which make it clear, how easily imperial historians falsely interpreted the facts and even rewrote them deliberately for political purposes of the ruling regime.Y. Nakonechnyi's Stolen Name is a book of great power of persuasion, all statements supported by references to authentic materials and scientific research. Being a profound study, it is nonetheless read as an adventure story, full of exciting events and discoveries. Written in 2001, it seems to contain answers to a great number of questions of today, not only for Ukraine and Russia but also for the whole world.