Approved For Release 2000/08/15
: CIA-RDP96-00792R000400450001-4
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Approved For Release 2000/08/15
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SECRET
PROJECT STAR GATE
PROFICIENCY ENHANCEMENT PROJECTS
Only the
(Acting)
Project Officer for each project will have
>
prior knowledge
of the target.
The Activity Chief will remain
blind
of the target until the completion of the project.
i
Date of Project
SGI J
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CPYRGHT
m
r/a TzEttwi 1 1 • i •n im
Next
to government,
publishing
is probably
the
main occupation of the nation’s capital, and the pub-
lishing industry is being enlisted in a major campaign
to support the National Symphony as a national
in-
stitution. Under the chairmanship of Austin Kiplin-
ger
(publisher
of
Changing
Times
magazine),
the
NSO board
last year began wooing
the support of
corporations throughout the country. An example of
the campaign’s
tactics:
a full-page ad published
last
summer
in
Time,
Fortune, Sports
Illustrated
and
Changing Times with a headline that trumpeted, “A
Classical Way to Conduct Business in Washington.”
“The National Symphony Orchestra
invites your
company to play an instrumental role in furthering
the great musical traditions of our nation’s capital,”
the ad said. “Become a National Corporate Sponsor.”
By no coincidence at all, the then-chairman of the
National Corporate Sponsors Campaign was James R.
Shepley, until his'retirement in January president of
Time, Inc., which has been setting down roots in the
Washington area with the purchase of a daily news-
paper, the Washington Star, and the transfer of head-
quarters for Time-Life Books to Alexandria, Virginia,
.
.
. and for the moment, looking satisfied
.
,
just across the Potomac from the District of Columbia.
In the 1977-78 season, when Rostropovich became
music director and Kiplinger was elected to head the
board of directors, the orchestra’s budget was $5.4 mil-
lion. For the 50th anniversary season
it has risen to
$7.9 million. This
is
still substantially behind such
orchestras as those of Boston, Chicago and New York.
The
intricacies
of
the Symphony’s
finances were
dwarfed last
fall by the complexities of getting Con-
gressional approval for a million-dollar matching grant
authorization. It was passed, finally, as an amendment
to the Department of Interior appropriation bill in
the waning days of the 96th Congress and signed by
President Carter on December 12. It will match, dollar
for dollar, money the NSO raises in fiscal 1981, in in-
crements of $100,000, and will be administered by the
National Park Service. This year’s fund drive aims to
raise $3.5 .million, beyond matching the federal grant.
By the first of January pledges amounted to more than
half a million. Box office receipts may enable NSO to
meet its budget.
Money matters,
first of all, because good musicians
get good salaries. The median salary at the NSO
is
$29,000 plus fringe benefits-$4,500
less than
a
full
professor can expect at a good university. The mini-
mum
is $26,500, and some of the principal players go
up into the $30 and $40 thousands.
But money is only part of the story; orchestral musi-
cians must be unanimous on
stage, but before and
after a performance they are an individualistic
lot;
the good ones, who are able to move out, will not stay
long with a conductor
they do not
respect.
“Since
Slava became the music director,” said Kiplinger, “we
have not lost any players we did not want to lose.”
Besides keeping the best players he inherited from
the previous conductor, Antal Dorati, Rostropovich
has eliminated a few who did not meet his standards,
and he has enlarged the orchestra, substantially im-
proving its sound. The job may not be complete (“We
still have a lot of passengers in this orchestra, particu-
larly in the violins,” says one player—not a violinist),
but the difference is clearly audible to those who have
been hearing the orchestra through the years.
The orchestra’s brighter, richer sound also reflects
. but as this gesture shows, most exacting.
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CPYRGHT
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A musician's view of Mstislav Rostropovich
.
.
.
younger
than
the
St.
Louis
Symphony,
years
younger than
the
Boston Symphony, and
years
younger
than
the New
York
Philharmonic,
which
dates back
to
1842. All
the major orchestras in
the
United States have a substantial head
start, chrono-
logically, on that of the nation's capital, and the ad-
vantage of timing has been reflected in their prestige.
The reason for the NSO's late start and for its con-
tinued sense of lagging just behind the front-runners
in
the
orchestral
prestige
sweepstakes
is
primarily
financial. Great orchestras tend to grow in cities with
major industries and old family fortunes. With Wash-
ington lacking both, the Symphony's endowment
is a
fraction of those of other large orchestras. And
it has
no state arts council to underwrite deficits.
Washington h
r. one-industry town, and that indus-
try, the federal govenmrent, has shown no interest un-
til very recently in supporting a symphony orchestra.
When
it did begin to give money to the performing
arts, through the National Endowment for the Arts, it
had
to spread
its
largesse
across the whole country.
Last May, for example, the NEA announced grants of
§9.2 million to 148 American orchestras for fiscal 1981
—a massive escalation from the beginning of its music
program in 1973, when a total of $63,000 served both
opera and orchestral music. Out of the $9.2 million,
the orchestra in the NEA's hometown got $175,000.
The NEA allocates
its grant money under a com-
plex formula, ranking each orchestra on such points as
audience
served,
administrative
acumen,
minority
participation,
use
of American
music,
soloists and
conductors, outreach
efforts. “But
first and foremost
is
orchestral
quality,"
says
Adrian
Gnam,
NEA's
Assistant Music
Director. An
orchestra
scoring
100
percent receives the largest grant; one with a 90 per-
cent score gets 90 percent of that amount, and so on.
The maximum grant
ever given an
orchestra by
NEA
is $300,000. This went in the current fiscal year
to six orchestras,
five of which are usually called the
“Big Five" in musical circles: Boston, Chicago, Cleve-
land, New York and Philadelphia. The sixth was Los
Angeles, which is pushing hard (as is the NSO) for ad-
mission to the charmed circle at the top. In order
to
receive any federal money at
all, an orchestra must
show that it has raised, through individual, corporate
.
.
. leading his charges through a rehearsal
.
.
.
and
foundation
support within
the community,
at
least as much as the NEA grant.
When they have lived together for a long time, an
orchestra and the ruling class of its parent city seem to
take on certain common characteristics. The Boston
Symphony is aristocratic but moderately adventurous;
the New York Philharmonic
is brash and
brilliant,
with sometimes a touch of crass insensitivity underly-
-
ing its obvious expertise; the Philadelphia Orchestra
is refined almost to excess and notorious for conserva-
tism in a field dominated by conservatives.
Washington’s orchestra
fits neatly into this pattern.
At
50,
in the throes of
its mid-life
crisis,
it
is often
insecure, plagued with problems of identity and self-
esteem, looking for firm leadership to assert its proper
position in the world. It has played, traditionally, for
audiences of
civil servants, people in
transit, people
whose roots were somewhere
else. That audience
is
changing slowly,
as more and more Washingtonians
sink their roots into the city, but there is not much old
money there. Citizens with inherited wealth tend
to
have the roots of their fortune elsewhere.
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at opening of the subscription series last September,
While the conductor rehearses his orchestra
beginning Slava’s fourth season as music director.
Pooks, his miniature dachshund, snoozes.
was permitted to leave his native country, but later
National Symphony Orchestra
in Washington, D.C.
was stripped of his citizenship for “acts harmful to
It was a predestined encounter. A man cut ofE from
the prestige of the Soviet Union” (he had befriended
his roots had connected with an orchestra in
crisis
and taken into his home novelist Aleksandr Solzhe-
serving a city without roots. The National Symphony
nitsyn when the government made the writer a non-
has spent half a century looking for glory, and now it
person). Rostropovich stands with the exiled Solzhe-
has Slava.
nitsyn, such defectors as dancer Mikhail Baryshnikov,
There are more than 1,500 symphony orchestras in
chess grand master Viktor Korchnoi, pianist Vladimir
the United States, and it is natural to expect that the
Ashkenazy and others as a former citizen of the work-
best of them would be the one in the nation s capital,
ers’ paradise. Distinguished exiles from the USSR now
It has not worked out that way, so far, although there
make up the most impressive list of exiles since the
are signs that the situation
is beginning to change.
1930s, when Hitler “cleansed” Europe of Albert Ein-
The reason
is simple: great orchestras, like wheat or
stein, Thomas Mann, Arnold Schoenberg, Kurt Weill
orchids, tend
to grow in a particular kind of social
and a whole generation of other geniuses.
soil, a particular kind of cultural climate, and Wash-
Rostropovich was
in
his
late
40s when he was
ington, for most of its history, has not provided that
hounded into exile. In 1961, while he was still in the
kind of environment.
Soviet Union, he had begun to extend his musician-
The National Symphony began life in 1930, at the
ship into a parallel
career
as a conductor, without
beginning of the Depression. That makes
it 50 years
abandoning his old career as a cellist. Once he was cut
off from his motherland, that career extension became
Joseph McLellan is a reporter, critic and book
decisive; he moved to the ideological polar opposite
reviewer for the Style section of the Washington
of Moscow
to
become
the
music
director
of
the
Post . He specializes in the performing arts.
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:
-4
CPYRGHT
Approved For Release 2000/08/15
: CIA-RDP96-00792R000400450001-4
Approved For Release 2000/08/15
: CIA-RDP96-00792R000400450001-4
Approved For Release 2000/08/15
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SECRET
PROJECT STAR GATE
TASKING SHEET
1 .
Proj ect Number :
2 .
Viewer Number:
3.
Date:
4.
Tasking:
94-001-PE
025
17 FEB
Access and describe target
UNCLASSIFIED WHEN BLANK
Enclosure B
SECRET
NOT RELEASABLE TO FOREIGN NATIONALS
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REPORT
Project Number:
9 4 -001-PE
Viewer Number:
025
Date:
4 March 1994
People come to the target site to have fun or for play.
It
is for
entertainment purposes
and
drama.
Families
visit
this
site
for
pleasure.
Dolls,
flowers,
children
(especially little girls)
,
and
possibly
furry animals
are present.
The target
is
located
in
a
good
or
warm
climate
where
the
sun
shines.
A
green
topped
structure
may
be
in
the
vicinity.
A
bussing
noise
and
communications
are present
at
the
site.
People visit this
site
like an amusement arena to see visions and to experience joy.
Approved For Release 2000/08/15
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Approved For Release 2000/08/15
: CIA-RDP96-00792R000400450001-4
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: CIA-RDP96-00792R000400450001-4
Approved For Release 2000/08/15
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SESSION INFORMATION
A.
TARGET DATA;
Task/Target No.
Session No.
B .
PERSONNEL DATA !
Source No.
Monitor's No.
Beacon/Sender No.
c.
SESSION DATA?
Date Task Received
Session Date
Start Time
Stop Time
Method Used
Distractions
(Pis)
Pre-session Hunches
(AVs)
Date Summary Returned
D.
EVALUATION DATA!
Viewer's Estimate
Evaluator's Estimate
E.
SESSION SUMMARY!
!
94-001-PE
!
049
NA
NA
17 FEB
10 MAR 94
1038
1115
CRV
Sinuses; personal concerns
None
10 MAR 94
The
target
is
within
a
vicinity
of
land-water
interface.
White-on-blue color is abundant here.
There
is
a rapid movement.
This
is reminiscent of the rolling,
churning action of water i.e.
like a flash flood or an ocean tide racing upstream, going against
a river current.
This
is treacherous and dangerous.
A
raising
and
lowering
movement
of
a
structure (s)
is/are
associated with the water.
At
least one structure
is
flat,
dark
colored and feels "suspended".
Another object is long, dark, round
and hollow.
I feel as if I'm falling in darkness when within this
latter object/ structure.
There
are
steep walls
or
sides
and the
interior
corners
of
these walls/sides are very pronounced.
There
is
a sense of rein-
forced
building
material
i.e.
concrete,
here.
There
is
also
a
chute-like feature
(see diagram)
.
Another object appears round,
circular or tube-like with two
"bands"
on either
side
of an opening or door-like feature on the
tube's side.
There
is movement of half-circle shaped objects.
There are
several
tubes
situated
side-by-side.
There
are
people
walking
among them; these tubes are much larger than the people.
There are
also
large,
mechanical
objects
which
also
dwarf
people
in
comparison.
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There
is
a
series
of
solid
looking
objects
(blocks?)
with
oddly angled sides, corners and/or features.
Some of these objects
have vents or ribs.
They appear blue-gray in color.
There
is
a
large,
flat
square with rounded
corners.
It
is
shiny and appears to reflect light,
etc.
Another
feature
is
hollow,
deep
and
circular
and
it
is
associated with
cold.
There
is
a
support
system reminiscent
of
bracing associated with this feature.
There
is
a
long,
flat,
narrow
structure
reminiscent
of
a
roadway.
There are broken,
jagged edges
as well
as
a feeling of
repair or maintenance associated with this.
There
is
a
series
of
long,
cube-shaped
objects
lined
up
parallel with one another.
They are being moved sideways.
Vented
doors are opening and closing.
There is a movement which involves a change in direction from
horizontal
to
a
downward,
vertical
aspect.
This
movement
is
a
controlled "fall"
or change
in direction.
There
is
abundant
activity
here
reminiscent
of
heavy
duty
maintenance or metal working.
It
is near or over water.
There are a series of aggregated drums or barrels.
People are
gathered
in one
area.
There
is
a corridor-like passageway which
runs through the crowd.
There
is
another
horizontal
movement
associated with
long,
flat objects.
These objects move through,
and out of,
a contained
feature
i.e.
tube,
chute,
etc.
There is fog/mist/steam thickly concentrated along one edge of
the view.
There is concern with the change in land use within this
vicinity.
There
is
also
a
greenish
tint reminiscent
of
looking
through night vision goggles.
2 )
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