- The CIA’s Plan to Create a “Destabilizing Student Opposition in Venezuela”!
by Global Research News, venezuelanalysis.com/
Interview with Ex-CIA Collaborator
In a recent interview in Havana, a former CIA collaborator, Cuban Raúl Capote [see image below] revealed the strategy of the CIA in Venezuelan universities to create the kind of destabilizing opposition student movement the country is currently facing. He also discusses media manipulation, and alleges that one of the U.S. diplomats that President Maduro expelled from Venezuela last September was in fact a CIA agent. The following translation and notes were made by Sabina C. Becker. Original interview in Spanish here.
Raúl Capote is a Cuban. But not just any Cuban. In his youth, he was caught up by the US Central Intelligence Agency (CIA). They offered him an infinite amount of money to conspire in Cuba. But then something unexpected for the US happened. Capote, in reality, was working for Cuban national security. From then on, he served as a double agent. Learn his story, by way of an exclusive interview with the Chávez Vive magazine, which he gave in Havana:
Q. What was the process by which you were caught up?
It started with a process of many years, several years of preparation and capture. I was leader of a Cuban student movement which, at that time, gave rise to an organization, the Saiz Brothers Cultural Association, a group of young creators, painters, writers, artists. I worked in a city in southern-central Cuba, Cienfuegos, which had characteristics of great interest to the enemy, because it was a city in which an important industrial pole was being built at the time. They were building an electrical centre, the only one in Cuba, and there were a lot of young people working on it. For that reason, it was also a city that had a lot of young engineers graduated in the Soviet Union. We’re talking of the last years of the 1980s, when there was that process called Perestroika. And many Cuban engineers, who arrived in Cuba at that time, graduated from there, were considered people who had arrived with that idea of Perestroika. For that reason, it was an interesting territory, where there were a lot of young people. And the fact that I was a youth leader of a cultural organization, which dealt with an important sector of the engineers who were interested in the arts, became of interest to the North Americans, and they began to frequent the meetings we attended. They never identified themselves as enemies, or as officials of the CIA.
Q. Were there many of them, or just always the same person?
Several. They never presented themselves as officials of the CIA, nor as people who had come to cause trouble, or anything.
Q. And who do you suppose they were?
They presented themselves as people coming to help us and our project, and who had the ability to finance it. That they had the chance to make it a reality. The proposal, as such, sounded interesting because, okay, a project in the literary world requires that you know a publisher, that you have editorial relations. It’s a very complex market. And they came in the name of publishers. What happened is that, during the process of contact with us, what they really wanted became quite evident. Because once they had made the contact, once they had begun frequenting our meetings, once they began to promise financing, then came the conditions for being financed.
Q. What conditions did they demand?
They told us: We have the ability to put the markets at your disposal, to put you on the markets of books or sculpture or movies or whatever, but we need the truth, because what we’re selling in the market, is the image of Cuba. The image of Cuba has to be a realistic one, of difficulties, of what’s going on in the country. They wanted to smear the reality of Cuba. What they were asking is that you criticize the revolution, based on anti-Cuba propaganda lines, which they provided.