PROJECT STAR GATE, PROFICIENCY ENHANCEMENT PROJECTS

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00792R000400450001-4
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 19
• Document Creation Date: November 4, 2016
• Document Release Date: May 8, 2000
• Sequence Number: 1
• Publication Date: February 17, 1994
• Content Type: OPEN

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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.
SG1J
Date of Project
SECRET
NOT RELEASABLE TO FOREIGN NATIONALS
STAR GATE
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TAB
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 Andrejs Lindbergs marks scores at Kennedy Center.
Injury ended violin career; he turned librarian.
Alone on stage at the Concert Hall in Kennedy
Center principal cellist John Martin, shirt-sleeved,
an improvement in morale among the players. The
impact of Rostropovich has not been unmixed; a
bitter struggle centered around the forced retirement
of principal flutist Wallace Mann, for example, but
Slava has won the allegiance of his most critical audi-
ence, the people who play under his baton. He has
done it through a combination: of prestige, technical
expertise and pure personality.
The personality is warm, ebullient and outgoing; it
is expressed in the generous way he shares applause
after a performance, in the massive (often soggy, for
conducting is hard physical work) bear hugs he gives
backstage to almost anyone within reach, in the color-
ful directions that pepper his rehearsals ("Sound like
a million devils ... Four old women in the audience
should have heart attacks"), and above all in his clear-
cut identification with the interests of his players.
When the orchestra went on strike at the beginning
of his second season, he marched on the players' picket
line-and was nearly arrested for marching in an area
not allowed in the picketing permit.
Orchestra's newest member, French horn player There are still disagreements among the players.
Laurel Bennert, won out over 145 other applicants. One will be saying "It was loud and vulgar," while
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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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A musician's view of Mstislav Rostropovich ...
younger than the St. Louis Symphony, 49 years
younger than the Boston Symphony, and 88 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 oL other large orchestras. And it has
no state arts council to underwrite deficits.
Washington.. is a. one-industry town, and that indus-
try, the federal government, 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,
beginning Slava's fourth season as music director.
was permitted to leave his native country, but later
was stripped of his citizenship for "acts harmful to
the prestige of the Soviet Union" (he had befriended
and taken into his home novelist Aleksandr Solzhe-
nitsyn when the government made the writer a non-
person). Rostropovich stands with the exiled Solzhe-
nitsyn, such defectors as dancer Mikhail Baryshnikov,
chess grand master Viktor Korchnoi, pianist Vladimir
Ashkenazy and others as a former citizen of the work-
ers' paradise. Distinguished exiles from the USSR now
make up the most impressive list of exiles since the
1930s, when Hitler "cleansed" Europe of Albert Ein-
stein, Thomas Mann, Arnold Schoenberg, Kurt Weill
and a whole generation of other geniuses.
Rostropovich was in his late 40s when he was
hounded into exile. In 1961, while he was still in the
Soviet Union, he had begun to extend his musician-
ship into a parallel career as a conductor, without
abandoning his old career as a cellist. Once he was cut
off from his motherland, that career extension became
decisive; he moved to the ideological polar opposite
of Moscow to become the music director of the
While the conductor rehearses his orchestra
Pooks, his miniature dachshund, snoozes.
National Symphony Orchestra in Washington, D.C.
It was a predestined encounter. A man cut off from
his roots had connected with an orchestra in crisis
serving a city without roots. The National Symphony
has spent half a century looking for glory, and now it
has Slava.
There are more than 1,500 symphony orchestras in
the United States, and it is natural to expect that the
best of them would be the one in the nation's capital.
It has not worked out that way, so far, although there
are signs that the situation is beginning to change.
The reason is simple: great orchestras, like wheat or
orchids, tend to grow in a particular kind of social
soil, a particular kind of cultural climate, and Wash-
ington, for most of its history, has not provided that
kind of environment. -
The National Symphony began life in 1930, at the
beginning of the Depression. That makes it 50 years
Joseph McLellan is a reporter, critic and book
reviewer for the Style section of the Washington
Post. He specializes in the performing arts.
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SECRET
1.
Project Number:
94-001-PE
2.
Viewer Number:
025
3.
Date:
17 FEB 94
4.
Tasking:
Access and describe target
SECRET
NOT RELEASABLE TO FOREIGN NATIONALS
STAR GATE
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Project Number: 94-001-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.
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Task/Target No. 94-001-PE
. TARGET DATA:
Session No.
Source No. : 049
Monitor's No. NA
Beacon/Sender No. NA
B. PERSONNEL DATA:
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:
17 FEB 94
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.
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TAB
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SECRET
SG1J
PROJECT EVALUATION FEEDBACK
PROJECT NO. 7 - 0U
DATE OF PROJECT /7 f4- ~
The following is an evaluation form for the project you reviewed. Please
complete this form and return to Chief, PAG-TA.
A. Is the information accurate? (Circle response)
Categories Source Source
Source
A B
C
Yes (true) (1, (1)
(1)
May be true (2) (2)
(2)
Possibly true (3) (3)
(3)
No (4) (4)
(4)
Possibly not true (5) (5)
(5)
Unsure (6) (6)
(6)
B. What is value of the Source(s)' information?
(Circle response)
Major significance
High value
Of value
Low value
No value
UNCLASSIFIED WHEN BLANK
(5)
(1) (1)
(2) (2)
(3) (3)
(4) (4)
(5) (5)
SECRET
NOT RELEASABLE TO FOREIGN NATIONALS
STAR GATE
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SECRET
C. Rationale for source evaluation. Provide rationale/analysis which led
to your evaluation of responses provided above. Include confirmatory/new
confirmatory data and whether collection requirements are currently
validated/tasked to either obtain or verify such data. Please provide your
written evaluation by source.
IC`C~ - C~1~7 ` c G/-~