Our People in Ukraine Vandalize a Russian Bank


Washington  Blog


Eric Zuesse

On Monday, June 22nd, a video was posted to youtube showing (starting at 3:00) a Russian bank being vandalized in Ukraine by a mob of “Right Sektor” thugs, which is the same organization who were used by Obama’s team (led by our State Department’s Victoria Nuland) to bring down the former — the Russia-friendly — Ukrainian President, Viktor Yanukovych, and who were also used by us to firebomb Odessa’s Trade Unions Building on May 2nd in order to massacre the hundreds of people inside seeking shelter from the mob that our regime had organized for this massacre. Yanukovych was the last freely elected President of Ukraine, the last one who was elected by all parts of the country. The new regime is now carrying out an ethnic cleansing operation in the southeastern provinces where Yanukovych had won the most votes, so as to get rid of the people who had voted for Yanukovych. During the Odessa massacre the victims inside the Trade Unions Building had been people who didn’t like the new Ukrainian regime that we had imposed upon Ukraine, by means of this “Right Sektor” organization, and another, called “Svoboda,” whose original name had been the “Social Nationalist Party of Ukraine,” a copycat Ukrainian version of Hitler’s National Socialist Party of Germany (for short the “Nazi” Party).


Here is a frame from this new video, showing our people’s vandalization of that Russian bank:


The event’s description, which is provided in the video’s accompanying “About,” says that “Several hundred people with ‘Right Sector’ [or ‘PS,’ for Pravy Sektor’] and carrying Ukrainian flags, blocked in Kiev a group of religious activists from the town of Lavra who were supporting a measure in Parliament against the military action in the Donbas region. … Police gave assurances to representatives of the PS, whose SS column then moved on, … shouting slogans [Ukrainian Nazi ones, praising Ukraine, and damning Russia and Russians].” Then they went on to a “branch of Sberbank of Russia.” But actually, the police weren’t cooperative with the thugs. A friend who lives in Ukraine made the video’s meaning clearer for me by saying of it simply: “Pravy Sektor wanted to beat refugees from south east but could not find them. They beat police and broke up Sber bank instead,” simply because it happened to be “Russian.”


Ukraine’s own largest bank is Privat Bank, which is owned by the Governor that Obama’s people appointed to run the Dnipropetrovsk region, Ihor Kolomoysky, who had been the mastermind behind our May 2nd massacre in Odessa. So, our thugs here in this new video are actually helping to eliminate in Kiev one of Kolomoysky’s competitors. In fact, Sberbank is the largest bank not only in Russia, but in all of Eastern Europe, and it is the third-largest bank in all of Europe. So, within Ukraine, it was Kolomoysky’s own stiffest competitor. Eliminating it would block our opponents in Ukraine from being able to patronize a Russian bank instead of Kolomoysky’s or another of our allied fascists’ banks, and that’s what these fascists were, in effect, doing.


Forbes rates Kolomoysky’s fortune at $6.3 billion. Kolomoysky is famous in Ukraine for using his private armed gang to help him to take over Ukrainian corporations. His bank’s name, “Privat,” is thus especially appropriate. Kolomoysky, moreover, had “earned” his fortune during the Harvard-led privatizations of the formerly communist-government properties, which had occurred in all of the former Soviet states. He’s a very “anti-big-government” person, very “pro-free-market,” against regulations, etc.


Kolomoysky’s main residence is in Geneva, but his friend Yulia Tymoshenko, the rabid anti-Russian whom Obama had wanted to become Ukraine’s President, got word to Victoria Nuland that Kolomoysky would be the best person to appoint to become the new Governor of Dnipropetrovsk; and so he was selected for that post, and he now lives in Dnipropetrovsk.


Kolomoysky has turned out to be an extremely effective agent for Obama throughout Ukraine, and a major asset for the present Ukrainian Government. As a businessman, he can’t be beat, because he is the one who does the beatings (or at least commissions them). He is clearly a master at getting a job done. In fact, that’s how he became Ukraine’s third-wealthiest person. Of course, the results for his (and our) victims aren’t good at all. But Obama obviously doesn’t care about that. He doesn’t care about them.


Kolomoysky recently hired Joe Biden’s Son, the lawyer Hunter Biden.


Investigative historian Eric Zuesse is the author, most recently, of  They’re Not Even Close: The Democratic vs. Republican Economic Records, 1910-2010,  and of  CHRIST’S VENTRILOQUISTS: The Event that Created Christianity.



Russia Prepares for an “Expected U.S. Nuclear Attack”

By Eric Zuesse
Global Research, June 23, 2014


russia-usa-400x233In response to the Obama Administration’s Ukrainian coup that replaced the democratically elected pro-Russian President of Russia’s neighboring country by a regime that is seeking to join NATO and become a base for U.S. nuclear missiles, Russia is girding for America’s expected attack.

BurkoNews, an organization of journalists based in Crimea, headlined on 22 June 2014, “Why Is Russia Preparing for the Nuclear War?” and reported:

“From the middle of May to early June 2014, the Russian Federation [i.e., ‘Russia’] undertook two large command-staff exercises testing the realization of a local nuclear attack. According to military experts there were never such dense and extensive testing scenarios of nuclear war even in the Soviet Union. … The 12th General Directory of the Ministry of Defense, which is the most secret department, was involved in the exercises.”

Previously, the present reporter had headlined “Why Ukraine’s Civil War Is of Global Historical Importance” and explained the connection between America’s coup in Ukraine in February 2014 and America’s re-start of the anti-Soviet Cold War.

The U.S. coup in Ukraine cannot be understood outside the context of that country’s being able and willing now to allow the U.S. to place nuclear missiles right next door to Russia, close enough for a first-strike against Moscow to prevent any retaliation by Russia. Our missiles would destroy Russia within ten minutes of launch — too short a time-window for Russia to be able to respond.

Another recent report was headlined, “Indications that the U.S. Is Planning a Nuclear Attack Against Russia,” and it described NATO military exercises and anti-Russian propaganda to prepare for a U.S.-led nuclear attack against Russia. In other words: this new “Cold War” is actually preparation for a nuclear war that is being not just planned but now actually being practiced in military exercises. One cannot understand U.S. President Barack Obama’s propaganda campaign against Russia if one does not understand what it is heading towards.

Yet another article was headlined “How and Why the U.S. Has Re-Started the Cold War (The Backstory that Precipitated Ukraine’s Civil War),” and it explained in even more depth the reason why Obama has been doing this.

This reporter has also explained why all U.S. news media (with very few exceptions) have refused to publicize these unquestionable realities; U.S. media have refused to publish any of those news-reports that place these current events into historical context. For example, one of my news reports was titled “Videos Americans Didn’t Get to See on Our Nightly News,” and it opened:

“While the U.S. media obsess with the Iraq War that we created 11 years ago and can’t stop, and that we aren’t really causing right now, they’re covering-up our current invasion (overseen by our CIA and former Blackwater mercenaries), which Obama and more than $5 billion of U.S. taxpayer money started in February, and which has been reported only via amateur videos uploaded to youtube and linked-to by Pravda and other ‘Russian propaganda’; so, here’s what U.S. ‘news’ media don’t want us to see, because it’s ‘only Russian propaganda’: it’s what we’re doing (through our own Ukrainian agents, our ‘heroes of Maidan’), right now.”

I shall continue trying to get the U.S. media — both its major news-media, and the smaller-circulation “alternative news” media, to report to the American people what Obama is doing to Ukraine, and why.

If this matter does not become a major issue during the upcoming Democratic Presidential primaries, which will start next year, then there will be no way to avert nuclear war, because Hillary Clinton shares Obama’s plan 100%, and was part of its operation while she was U.S. Secretary of State; and no Republican U.S. Presidential nominee will oppose an operation to “win a nuclear war.” Any contender in Republican Party Presidential primaries who would oppose it wouldn’t stand a chance to win that Party’s Presidential nomination, because being “strong on defense” is the biggest rallying cry to that Party’s voters: the people who actually vote in Republican Party primaries and so determine its nominee.

Consequently, the available time-window for the U.S. press to change its tack on this and to start informing the American public on this matter that they’ve been hiding from the public, will soon become closed.

Author’s recent articles on media disinformation:







Investigative historian Eric Zuesse is the author, most recently, of They’re Not Even Close: The Democratic vs. Republican Economic Records, 1910-2010, and of CHRIST’S VENTRILOQUISTS: The Event that Created Christianity.

Arctic Monkeys extend 2014 North American tour

Photo by Ben Kaye


The ever-restless Arctic Monkeys have once again extended their American tour behind last year’s LP, AM. Over the coming months, Alex Turner and Co. will make several trips across the Atlantic; in August for appearances at Lollapalooza and Outside Lands; in September for a show at Red Rocks and a pair of Canadian festival dates; and in October for a string of shows in Arizona and Texas. See the full docket below, along with our recent interview the band at Bonnaroo.

Arctic Monkeys 2014 Tour Dates:
06/24 – Indianapolis, IN @ The Lawn at White River State Park *
06/25 – Milwaukee, WI @ Summerfest
06/29 – Roskilde, DK @ Roskilde Festival
07/04 – Wechter, BE @ Rock Werchter
07/06 – Sopron, HU @ Volt Festival
07/08 – Nimes, FR @ Nimes Festival
07/10 – Lisbon, PT @ Optimus Alive
07/12 – Dublin, IE @ Marlay Park
07/13  – Kinross, UK @ T in the Park
07/16 – Villafranca, IT @ Castello Scaligero
07/17 – Pistoia, IT @ Pistoia Blues Festival
07/19 – Brittany, FR @ Les Vielles Charrues
07/30 – Council Bluffs, IA @ Harrah’s Hotel & Casino Stir Cover
08/01 – Chicago, IL @ Lollapalooza
08/06 – San Diego, CA @ SDSU Open Air Theatre
08/07 – Los Angeles, CA @ Staples Center
08/08 – San Francisco, CA @ Outside Lands Music Festival
08/10 – Squamish, BC @ Squamish Valley Music Festival
08/11 – Seattle, WA @ Paramount Theater
08/12 – Seattle, WA @ Paramount Theater
08/16 – Osaka, JP @ Summer Sonic Festival
08/17 – Tokyo, JP @ Summer Sonic Festival
08/22 – Paris, FR @ Rock en Seine
08/23 – Reading, UK @ Reading Festival
08/24 – Leeds, UK @ Leeds Festival
08/30 – Edmonton, AB @ Sonic Boom Festival
08/31 – Calgary, AB @ X Fest
09/03 – Magna, UT @ The Great Salt Air
09/04 – Morrison, CO @ Red Rocks Ampitheater
09/05 – Kansas City, MO @ KRBZ Beach Ball
10/25 – Phoenix, AZ @ Comerica Theatre
10/28 – Cedar Park, TX @ Cedar Park Center
10/29 – Grand Prairie, TX @ Verizon Theatre at Grand Prairie
10/30 – The Woodlands, TX @ Cynthia Woods Mitchell Pavilion
11/04 – Bogota, CO @ Coliseo El Campin
11/08 – Buenos Aires, FR @ Personal Fest
11/09 – Cordoba, AR @ Estadio Orfeo
11/11 – Santiago, CL @ Arena Movistar
11/14 – Sao Paulo, BR @ Anhembi
11/15 – Rio de Janerio, BR @ HSBC Arena

* = w/ White Denim

The Dream World of St. Vincent


Annie Clark of St. Vincent

It’s thunderstorming in Barcelona, so Annie Clark – who performs as St. Vincent and who “really, really, really” wants to go to the beach – is forced to make other plans. “You visit a lot of museums and aquariums when you’re on tour,” she says, crossing the rain-slicked plaza of the Museu Blau, a natural-history museum overlooking a stretch of the Mediterranean that’s currently the same desolate gray shade as the sky. “I watch a lot of Sex and the City on tour, too,” she adds. “Not that I watch it watch it, but it’s on TBS, so it’s always fucking on.” Clark is all black from the neck down – suede ankle boots, skinny jeans, scoop-neck tee, biker jacket – and polychromatic up top, with huge green eyes and stralavender-blond curls escaping from a cobalt-colored hat, its brim ample enough to keep her cheeks dry. The Blau resembles a vast slab of soil that someone dyed blue, stabbed with shards of broken terrarium and set upon a pedestal. Clark suggested that we come here, but she is unfamiliar with the place. “What kind of museum is this?” she asks. “Oh. OK.” She says she never really went through a science-buff period: “I had a brief shark obsession, but didn’t everybody?”

What about her music, dude?

Inside the permanent exhibit, contemplating some trilobite fossils, Clark says, “It’s crazy to think about the tiny fraction of time that we’ve been on the planet.” She revises that statement: “That we’ve been a pox on it.” We head into a gallery marked Evolución, where a primate skeleton stands beside that of an early man. “I went to the Creation Museum, in Kentucky,” Clark says. She identifies as a “reformed” Catholic and intended the visit as a lark: “I thought it would be a fun adventure, but it kind of darked me out. They tell you the dinosaurs died in the flood.”

One of Clark’s preoccupations on St. Vincent is the persuasive power of cult leaders and how such figures parallel pop performers. “It’s kind of the flip side of the same coin,” she says. Pushing her sound in a more danceable direction, she says, represented an attempt to “democratize” her concerts: If people didn’t move, performances would be incomplete. For the tour, she hired the choreographer Annie-B Parson, who developed a set of mechanistic movements for Clark and her band to perform on cue, in a winking acknowledgment of the artifice that goes into seemingly spontaneous performances. (It’s also, of course, a nice bit of stagecraft.)

What about her music, dude?

Clark moves on to regard a deep-sea spider crab, preserved in a jar. “The thing that really depressed me about the Creation Museum is that the tickets aren’t cheap,” she says. “They’re, like, $25, and yet there were buses pulling up from all over, full of these people who didn’t look like they had $25 just lying around. It seemed predatory to me.” She frowns. “Why would you want to control people like that? Would you even want to? I’ve thought about it a lot, and I wouldn’t. To have people live in this weird little art world you’ve created? Fine. But to make them believe some bullshit and build their lives around it? Unh-unh.”

Religion hangs over St. Vincent’s lyrics, where she pits salvation against desire and divine fervor against earthly love. Its role in her life is similarly spectral. Clark’s grandmother baptized her in a kitchen sink “with a cigarette in one hand and a martini in another,” Clark says, adding that her parents weren’t remotely devout, but “they decided that it meant a lot to her, and it wouldn’t do any harm.” Clark was born in Oklahoma and grew up in the middle-class Dallas suburb of Lake Highlands. Clark’s dad worked in finance; she thinks his job involved “stock-y things,” but isn’t certain. “My parents separated when I was three, so I didn’t really grow up with him as much – just Christmases and summers,” she says. Money was tight: Clark’s mom was a social worker, “supporting three kids on her salary, for a long time,” she says.

Clark’s creative side manifested early. “I remember submitting a comic about the Teenage Mutant Ninja Turtles to some contest,” she recalls. (She didn’t win.) She describes herself as a shy child who suffered anxiety attacks, stemming from what she characterizes as profound existential dread at the “vastness” and chaos of the world. “When I was six or seven, I started to have really intense anxiety, and I didn’t have the tools to even know what it was.” Such attacks still overcome her, though less often, and she still finds the sensation hard to articulate: “It’s always been this little buddy of mine; it informed my entire worldview. There’s general anxiety, and then there’s panic attacks, where I have really catastrophic thoughts, where I’m not in control.” This is where art came in. “When you’re forced to deal with something big that you don’t understand, you try to find ways to interpret the universe in a way that can make you feel safer or alleviate that crazy. For me, it was music.”

Clark, 41, is in the middle of a global run of shows that began in February, promoting her fantastic new album, St. Vincent. A few months ago, the surviving members of Nirvana invited her onstage in New York, where she lives, at the Rock and Roll Hall of Fame induction ceremony; she played guitar and sang lead on “Lithium.” And last week, she brought her transfixing brand of high-concept, high-energy art rock to the Saturday Night Live season finale, then left the very next day for some Australian gigs. All the trans-hemispheric schlepping has left her severely jet-lagged. “I’m off a 30-hour flight from Sydney,” she says. “I’ve got to be up front with you: My head feels like it’s floating above my body on a thin thread. I don’t even want to pretend to stop and read all the placards and stuff in the exhibits here, because I’m not going to absorb anything. I was listening to a Proust audio book earlier, and I got nothing from it. Nothing. Except that he might be a little hung up on his mother.”

What about her music, Dude?

In conversation, Clark is a good deal like her music: wry, erudite and free-associative. Over the course of her four solo albums and a 2012 collaborative LP with David Byrne, she has gone from a prodigiously talented, occasionally over-precious genre-juggler to an assured pop visionary – establishing herself along the way as a bona fide guitar god capable of wringing both virtuoso jazz phrasings and bracingly atonal disturbances from her instrument. She’s said that St. Vincent, which sold nearly 30,000 copies in its first week, is her first LP that truly “sounds like myself.” Byrne describes her songs the way people describe Talking Heads’: “I find them accessible, but if you look closely, they’re pretty strange,” he says. “There is a nice push and pull, some energizing tension going on there. It takes some skill to keep that balance.”

Too much rhetoric, dude. But no meaningful content.