User:CovertCalifornia
Thomas Busse is an accountant, cultural historian, classical musician, and formerly was a published professional classical music critic in San Francisco.
In 2017, he observed that a San Francisco nonexistent special district called the "Public Finance Authority" collected a sales tax that seemed to disappear. After pouring through dusty records in the San Francisco Board of Supervisors archives under the San Francisco Sunshine Ordinance, he discovered documents that the district had been set up by a number of naval intelligence officers in 1993 pursuant to a rigged election. In other words, the money was not falling into a black hole, but it was supporting black ops, specifically, the CIA's Los Angeles Area "Spy School" operating under the cover of a theological seminary in Pasadena. This effort forced the CIA's school to close. It had been hiding in plain sight since the founding of the CIA in 1947.
In an effort to follow the Public Finance Authority money, Busse had to educate himself on intelligence agency operations. He was astonished at the extent to which they control the mass media. He took an especial interest in California and the SF Bay Area where local journalism overlooks intelligence operations but where the military-industrial complex has substantial operations. As a former Boeing employee, Busse also has a strong grasp of the California "Defense Contractor Archipelago" operating alongside civil society.
As a former published music critic, Busse's background included a strong education in social and cultural history that welcomed contrarian and revisionist views. His main teacher was Dr. Richard Taruskin, former chief music critic of the New York Times, and among the areas of his "mainstream" study was the CIA's interest in the Darmsdadt summer music courses and the use and abuse of High Art Music as propaganda. As an accomplished musician himself, Busse understood the power of performance to manipulate and change the emotions and views of an audience. This informs his interpretation of covert action as "psychological performance art," which Busse views through the lens of opera criticism at a high architectural level.
Busse's own articles on intelligence matters take the form of opera and theater reviews, and they indulge in literary conceit. He takes a page from the Gay Rights movement, and is a leading advocate for Conspiracy Theorist Pride, urging Conspiracy Theorists everywhere to come out of the closet and express who they are in public. He holds a conviction that simple exposure of covert action, imperial aggression, or media duplicity - and especially anger or frustration about it - is counterproductive. Instead, he advocates fighting psyops with counter-psyops, parody, and satire, which he calls "ethical trolling" and "trolling with dignity."
Busse seriously engages with Karheinz Stockhausen's conception of the 9/11 attacks as guerilla-performance art transcending life. Because 9/11 was meant to appeal to fear and emotion, Busse views 9/11 as a horror movie to which the audience was not invited and then drawn into the film as a maddened crowd. As a Progressive Libertarian, Busse also is highly critical of the arrogance of the producers of such artworks (having suffered having to work with overstuffed theater directors) and Busse holds the conviction that all propagandists eventually start believing their own propaganda, leading inevitably to their own downfall and the path of scorched earth. In other words, Busse believes the establishment of a controlled media is a Faustian bargain reflecting the insecurity of those in power.
As an astute economist and fraud investigator, Busse takes an acute interest in the study of financial fraud and the mechanics of racketeering. He embraces public banking and advocates the views of Professor Richard Werner and the Quantity Theory of Credit.
