Ejen Larangan yang Menjadi Sarjana Penyamaran

Ejen Larangan yang Menjadi Sarjana Penyamaran

Ketika Larangan bermula, dua lelaki biasa menganggap akan senang untuk mendaftar untuk menguatkuasakan undang-undang baru. Mereka betul.


Rahsia Gaya Jonna Mendez Belajar sebagai Ketua Penyamaran CIA

Jonna Mendez, menyamar, dengan Presiden George H.W. Bush.

Foto: Dengan hormat Jonna Mendez

Tidak ada yang memahami kehebatan fesyen untuk berkomunikasi & # x2014 dan menyembunyikan & # x2014 lebih baik daripada & # xA0Jonna Mendez.

Setelah berkhidmat dengan CIA selama 27 tahun sebelum bersara pada tahun 1993, & # xA0Mendez & # xA0melantik gelaran Chief of Disguise, menjalankan program berjuta-juta dolar dan menerima Pingat Komitmen Perisikan atas jasanya. Sepanjang kerjayanya dengan agensi, dia menjadi pakar dalam transformasi identiti dan & # xA0clandestine fotografi dan menentang KGB di Moscow, Stasi di Jerman Timur dan Direktorat Perisikan Kuba. & # XA0Tiada masalah besar.

Selama bertahun-tahun sejak dia meninggalkan agensi, Mendez telah menggunakan pengalamannya dengan mata-mata kehidupan sebenar untuk menulis buku seperti & # xA0 & quotArgo, & quot & quotSpy Dust & quot dan & quotPeraturan Moscow & quot & # xA0dengan suaminya Antonio Mendez, yang berkongsi tajuk Ketua Penyamaran. Jonna & # xA0 kini menjadi pensyarah, perunding dan ahli lembaga penasihat & pengasas di Muzium Perisik Antarabangsa di Washington, DC & # x2014 dan dia & # 39; boleh dikatakan orang terbaik untuk meminta nasihat jika anda & # 39; melakukan perjalanan ke kampung halaman anda dan tidak & murtad mahu bekas kekasih anda mengenali anda di jalanan.

Ketika menyamar, orang sering menumpukan perhatian pada apa yang anda lihat dari dagu ke atas & # x2014 rambut palsu, misai, prostetik muka & # x2014 tetapi cenderung melupakan bahagian badan yang lain. Ingin tahu lebih banyak mengenai bagaimana fesyen dapat digunakan untuk mengubah persepsi sepenuhnya, kami menghubungi Mendez untuk mengungkap rahsia gaya yang dipelajarinya sebagai CIA & Ketua Penyamaran. Teruskan membaca untuk melihat apa yang kami pelajari.

Anda boleh mengetahui dari mana seseorang berdasarkan kasut mereka.

Sekiranya CIA mengirim salah seorang pegawainya ke negara lain, ia akan meminta mereka membeli kasut mereka setelah mendarat di lokasi baru mereka. Kenapa? & # XA0

"Selama bertahun-tahun saya bekerja, kasut adalah perkara utama [yang menandakan orang asing]," kata Mendez. & quotIa & dimiliki sama ada Amerika atau ia & tidak. Kami memakai kasut putih yang baru dan putih. & Quot & # xA0

Oleh itu, jika anda & ingin melancong, pastikan anda terus dari lapangan terbang ke kedai kasut. & # XA0

Terdapat alasan khusus mengapa fesyen Perancis begitu didambakan.

& quot; Apa yang [orang Amerika] masukkan ke dalam beg pakaian kita ketika kita bepergian [dimaksudkan untuk keselesaan] & # x2026 Itu bermaksud sama ada sandal jepit atau kasut untuk banyak orang, & quot; Mendez menyatakan. & quotKebanyakan orang Eropah, ketika mereka keluar dari pintu, mereka & aposre mengumpulkan & # x2014 terutama wanita. & quot

Bukan kerana wanita Perancis sememangnya lebih bergaya, Mendez berpendapat. Hanya kerana mereka lebih rela menghabiskan sedikit masa untuk penampilan mereka, dan mereka cenderung untuk lebih mengutamakan keselesaan daripada gaya.

"Mereka meluangkan masa di depan cermin," katanya. & quotDan itu & mengapa semua orang selalu memberi komen, & apos, wanita Perancis sangat cantik. & apos & quot & # xA0

Hanya memerlukan beberapa perubahan untuk mengubah sepenuhnya penampilan seseorang.

Mendez menjelaskan bahawa orang sering percaya bahawa jabatan penyamaran CIA & aposs menghabiskan sebahagian besar waktunya dengan rambut palsu dan kumis, tetapi itu & apatah lagi tidak berlaku. & # XA0

& quot; Itu & apos; t hanya bercakap tentang bujur wajah, dan banyak kali, itu & bukan masalahnya, & quot; katanya. & # xA0

Menggunakan diplomat Amerika sebagai contoh & # x2014 orang berpakaian cantik yang mengenakan jas dan tali leher & # x2014 Mendez mendedahkan bahawa membuat orang ini sukar dikenali hanya memerlukan beberapa perubahan.

& quotKami boleh menanggalkan tali leher mereka, membuka bajunya, mungkin satu butang terlalu banyak, mengenakan semacam rantai emas yang mengerikan, menanggalkan cincin perkahwinan mereka, sehingga anda dapat melihat bahawa mereka mempunyai cincin kawin, tetapi tidak ada di sana. Di sana & terdapat lekukan di jari, & quot katanya. & quotSebarkan sedikit terlalu banyak cologne pada mereka, pakai beberapa tatu atau & # xA0piercing & # x2026 tidak perlu mengubah orang & memaparkan kesan lelaki itu di jalan. & quot

Sangat mudah untuk mengubah cara orang melihat anda kerana, menurut Mendez, ketika anda & # 39; melihat orang yang datang dan pergi di trotoar, ia & # 39; hampir seperti anda & memindai kod bar. Anda melihat seseorang dan tanpa memikirkannya secara sedar, anda membuat kesimpulan tentang jenis orang seperti apa mereka.

Label yang anda pakai boleh dilihat sebagai mata wang di negara lain.

Masuk ke mana-mana kedai barang berjimat tempatan dan anda mungkin akan menemui banyak seluar jeans Levi & jeans. Tidak akan membuat anda murtad jika anda & aposre di AS, tetapi di tempat lain, ia mungkin berlaku. & # XA0

& quot; Ada masanya jika anda muncul di Eropah di Levi & aposs, di Levi & asli Amerika asli, seseorang ingin membelinya dari anda, & quot; kata Mendez. & quotMereka sangat memahami barang dan label berjenama. Juga, jika anda mengenakan seluar jeans Levi & jins palsu, mereka juga dapat melihatnya. & Quot & # xA0

Dari perspektif CIA & aposs, ini tidak wajar dilakukan kerana mereka ingin menyatu dan memastikan mereka memakai pakaian tempatan.

Foto: Dengan hormat Jonna Mendez

Tidak perlu banyak perubahan untuk mengubah status sosial anda.

Nampak jelas bahawa untuk bermain dengan persepsi mengenai status sosioekonomi, anda perlu membeli pakaian dan aksesori yang lebih mahal & # xA0jika anda & # 39; cuba menaiki tangga secara visual. Bagaimanapun, Mendn & # 39; tidak harus terlalu kompleks atau mahal, menurut Mendez.

& quotKami mempunyai topi keras seperti yang anda & lihat di tapak pembinaan. Kami mempunyai saputangan merah. Kami mempunyai sehelai kertas besar. Ideanya ialah jika anda memakai topi keras itu dan saputangan di leher anda, semua orang yang melihat anda di tapak pembinaan akan menganggap bahawa anda adalah buruh, & quot; kata Mendez. & quotTetapi anda mengambil sehelai kertas yang digulung dan anda memakai tali leher & sekarang anda mendapat topi, tali leher, kertas itu, menanggalkan saputangan merah, dan anda & mungkin mungkin atasan pekerjaan atau arkitek yang mencari untuk memastikannya & dibina dengan betul. & quot & # xA0

Dengan perubahan minit ini, anda dapat bermain stereotaip secara halus untuk mencapai perubahan persepsi yang memberi kesan.

CIA meminta petugas mengawasi tren yang datang dan pergi di mana-mana kawasan.

Sekiranya anda & peminat fesyen profesional atau pencinta fesyen, anda mungkin mengikuti apa yang dipakai orang melalui Instagram atau laman web ini, yang dapat membantu anda memahami apa yang sedang & sedang popular. CIA, walaupun & # x2014 yang memberikan nilai tinggi untuk terus mengikuti tren & # x2014 mengambil pendekatan yang berbeza di bawah Mendez.

& quot [Saya] bukan hanya menjadi perhatian untuk mengetahui gaya, tetapi juga mengetahui apa & apos masuk dan apa & apos keluar [di tempat tertentu], & quot dia menjelaskan. & quotKarena semuanya berlaku. Oleh itu, seseorang harus mengawasi perkara itu dan pegawai penyamaran tempatan anda, yang akan menjadi penduduk di bandar yang anda tinggali atau akan melalui bandar yang pernah anda kunjungi sekali atau dua kali setahun, dapat membuat anda mengetahui apa yang anda boleh melarikan diri dan apa yang anda mungkin mahu & murtad mahu lihat di jalanan memakai. & quot & # xA0

Ringkasnya: Sekiranya anda ingin mengetahui apa & terkini, internetnya baik. Tetapi jika anda benar-benar ingin kelihatan seperti orang biasa di jalan di negara lain sehingga anda tidak dapat dilihat secara berkesan, pertaruhan terbaik anda ialah menempah tiket ke sana untuk memerhatikan atau bertanya kepada seseorang yang tinggal di sana sepenuh masa tentang apa yang harus dipakai.

Perhiasan dan solek sebenarnya adalah yang anda perlukan untuk peralihan siang-malam anda.

& quot; Ketika kami menyamar wanita, itu sangat menggembirakan, & quot kata Mendez. & quotKarena wanita sangat terbuka terhadapnya. Kami & # 39; semua bermain dengan solek sejak kami berusia tiga. & Quot & # xA0

Dia terus mengatakan bahawa cara mudah bagi seorang wanita untuk mengubah penampilannya adalah dengan menukar perhiasannya: & quot; Sekiranya dia memakai kalung emas kecil dan gelang kecil yang sangat sunyi, anda memakai beberapa perhiasan kostum & # x2014 sesuatu yang dia mahu tidak pernah mengenakan & # x2014 dan mempesonakan soleknya, dia boleh hilang. & quot & # xA0

Peralihan ini boleh berlaku dalam lima minit, yang merupakan berita baik bagi mana-mana wanita yang cuba beralih dari kedudukan pejabat korporat ke gudang gegaran dalam beberapa minit (belum lagi bukti bahawa semua artikel dalam fesyen berkilauan mengenai kemudahan beralih dari hari ke malam kelihatan ke sesuatu).

Foto: Dengan hormat Jonna Mendez

CIA menggunakan minyak wangi dan gincu untuk menyembunyikan kamera, dan orang Rusia mempunyai gincu yang berganda sebagai pistol.

Semasa membincangkan sama ada alat pengintip telah diletakkan di dalam perhiasan (mereka tidak mempunyai tanda tanya & # x2014 tetapi CIA mencuba dengan jam tangan), Mendez mendedahkan, & quotKami dapat meletakkan kamera di gincu. Kami dapat meletakkan kamera dalam alat penyemprot parfum. Rasanya seperti alat penyemprot minyak wangi Chanel, benda hitam lakuer, kami dapat meletakkan kamera di dalamnya sehingga ketika anda menekan alat penyemprot, bukannya menyemburkan minyak wangi, ia mengambil gambar. & Quot

Tetapi orang Rusia menjadikan keseluruhan trik alat perisik gincu ke tahap seterusnya. & # XA0

& quotKGB mempunyai pistol yang ada di gincu dan melepaskan satu tembakan. Ini & terdapat di muzium pengintip, & quot kata Mendez. & quotIa akan digunakan oleh wanita yang sangat dekat dengan orang yang dia bersedia untuk dibunuh. & quot & # xA0

Dengan tepat, pistol gincu ini dipanggil & quot; ciuman kematian. & Quot

Palet warna mempunyai banyak kekuatan.

Ingin mendapat perhatian di luar pertunjukan pada minggu fesyen, atau berharap dapat menyatu dengan lautan wajah di acara di mana bekas bos anda yang menakutkan kemungkinan akan hadir? Warna yang anda pakai mempunyai peranan besar dalam seberapa berkesan anda & boleh melakukannya.

& quot; Anda boleh membuat diri anda surut atau membuat diri anda menonjol [bergantung pada palet warna anda], & quot kata Mendez. & quotDisebut berada di satu hujung dan mungkin orang kulit hitam di hujung yang lain. Hari ini, sekarang kerana saya & aposm tidak berfungsi dan saya & aposm cuba berada di bawah radar, saya memakai hampir sepenuhnya hitam. & Quot & # xA0

Berita gembira ini juga dapat membantu anda mempelajari sesuatu tentang psikologi anda sendiri: yang diperlukan hanyalah melihat sekejap dalam & # xA0loset anda untuk mengetahui sama ada anda & tidak sedar cuba menyembunyikan atau menonjol di khalayak ramai.

Fesyen boleh menjadi pelindung seperti baju besi.

Mendez mengatakan bahawa CIA & lelaki yang suka dan murtad ingin berpakaian dengan rambut palsu dan misai, tetapi itu benar-benar berubah ketika mereka mula bekerja melawan pengganas dan melakukan kerja balas narkotik. & # XA0


Perisik Perang Dingin dan Master CIA Penyamaran Menulis Sejarah Taktik CIA dalam Perang Dingin

Aleisha Smith adalah pelatih untuk History News Network.

Jonna Mendez adalah bekas Ketua Penyamaran dengan pengalaman lebih dari dua puluh lima tahun sebagai pegawai CIA yang bekerja di Moscow dan kawasan sensitif yang lain. Dia adalah pengarang bersama suami Tony Mendez dari Habuk Perisik dan karyanya telah dipaparkan di Washington Post, WIRED, NPR, dan tempat-tempat lain. Suaminya, Antonio (Tony) Mendez, mungkin paling terkenal dari filem terbalik bukunya ARGO, adalah salah seorang pegawai yang paling terkenal dalam sejarah CIA. Dia, sedih, meninggal dunia pada akhir Januari. PERATURAN MOSCOW: Taktik yang Membantu Amerika Menang Perang Dingin adalah buku terakhir mereka bersama.

Bagaimana rasanya menjadi & ldquoin menyamar & rdquo sebagai ejen CIA ke seluruh dunia mengetahui bahawa anda pernah beroperasi? Seperti apa peralihan itu?

Saya bekerja di CIA selama 27 tahun. Sepanjang masa saya berada di bawah perlindungan, sama ada tinggal di AS atau di luar negara. Sampulnya berbeza mengikut keadaan saya. Biasanya berputar di sekitar entiti kerajaan AS yang lain. Walaupun rakan sekerja saya tahu, tentu saja, mengenai hubungan saya yang sebenar, hubungan sosial saya tidak. Ini akan merangkumi beberapa rakan karib selama bertahun-tahun & ndash yang menyangka saya bekerja sangat membosankan untuk kerajaan AS. Beberapa ahli keluarga saya tahu, tetapi tidak ada seorang pun rakan saya. Ketika Tony dan saya keluar secara terbuka, ia menimbulkan banyak pertengkaran dengan rakan yang saya rapat, dan sebenarnya saya kehilangan beberapa rakan yang tidak percaya bahawa saya telah menipu mereka selama ini. Itu menyakitkan. Rakan-rakan saya yang asing mungkin lebih memahami daripada orang Amerika saya. Pada mulanya sukar untuk bercakap secara terbuka. Kami begitu sukar untuk mengaburkan bahawa bercakap benar, perkara mudah seperti itu sukar.

Menurut anda bagaimana peranan peribadi anda dalam sejarah dan bagaimana rasanya menulis tentangnya?

Tony Mendez dan saya bekerja bersama selama bertahun-tahun. Selepas perkahwinan kami, kedua-duanya berterusan. Semasa kami mula bercakap dan menulis mengenai kerja kami, kami melakukannya bersama. Sudah tentu, dia adalah pemangkin untuk kita dapat bercakap & ndash ketika orang lain tidak dapat. Tetapi kami telah melakukan banyak pekerjaan yang sama dan kami mempunyai banyak pengalaman serupa. Saya rasa peranannya dalam sejarah adalah kepahlawanan, sementara peranan saya akan membantu untuk membongkar CIA secara terbuka. Kami berpendapat bahawa peranan kami adalah untuk memperibadikan CIA untuk menunjukkan bahawa ia terdiri daripada orang Amerika biasa yang berusaha melakukan pekerjaan yang terbaik untuk negara mereka. Kumpulan pekerja apolitik dengan pekerja yang sangat baik. Mungkin terdengar sederhana, tapi saya rasa bersama-sama kita membuka pintu untuk melihat-lihat ke dalam mesin agensi kerajaan ini dan orang-orang yang bekerja di sana.

Saya juga merasakan bahawa saya mempunyai peranan kreatif untuk bermain di arena Disguise. Kami mula menghasilkan sistem penyamaran yang sangat maju, dimodelkan sesuai dengan beberapa yang pernah kami saksikan di Hollywood, dan mereka menjadi alat yang diperlukan di kawasan-kawasan yang ditolak di dunia, tempat-tempat yang sukar dikerjakan di mana pengawasan hampir menghalangi anda bekerja di semua & ndash seperti Moscow. Kami sentiasa berinovasi dan mencipta alat baru untuk membolehkan rakan sekerja kes kami bekerja di jalanan walaupun mereka dikelilingi oleh pengawasan.

Adakah iklim politik semasa membentuk bagaimana anda membincangkan karya anda sebagai pengarang dan sebagai bekas ejen CIA?

Politik tidak membentuk perbincangan sama seperti keperluan untuk kepekaan terhadap maklumat yang diklasifikasikan. CIA mempertahankan pengawasan mantan pekerjanya, yang bersikeras untuk meninjau penerbitan apa-apa bahan bertulis dan mengawasi perbincangan kemaluan. Bukan politik yang membatasi apa yang kita katakan, tetapi keperluan untuk melindungi sumber dan kaedah. Saya sentiasa senang mematuhi. Saya tidak mempunyai keinginan untuk membocorkan maklumat terperinci. Sebaliknya, ketika CIA tampak berat, saya tidak teragak-agak untuk mempersoalkan keputusan mereka. Baik Tony ataupun saya merasa terkekang oleh CIA dalam apa yang kita katakan atau tulis.

Anda seorang jurugambar rahsia dan masih seorang jurugambar yang gemar. Apakah persamaan dan perbezaan antara melestarikan sejarah melalui fotografi dan perkataan yang ditulis?

Saya benar-benar percaya bahawa foto bernilai seribu perkataan. Apabila dua orang terperangkap dalam tindakan menyebarkan maklumat rahsia, apabila plat kenderaan kelihatan jelas, apabila wajah pengkhianat ditangkap dalam filem, ini adalah bukti yang tidak dapat disangkal. Sebenarnya, tidak ada kata-kata yang diperlukan. Foto itu bukti. Tetapi saya tidak akan menolak perkataan bertulis, pendekatan analitis untuk menyelesaikan masalah, penghubung titik. Namun, jika anda mempunyai gambar minit mesyuarat, atau tempat kejadian, anda mempunyai bukti positif. Dari segi sejarah anda mahu memiliki kedua-duanya.

Sebagai ahli Lembaga Penasihat untuk Muzium Perisik Antarabangsa, bolehkah anda berbicara mengenai sejarah awam dan pentingnya berkongsi pengetahuan anda dengan khalayak luas?

Saya melihat ini sebagai peranan utama muzium, peluang untuk mendidik orang ramai dan memberi cahaya kepada kawasan yang biasanya tidak dapat dilindungi & menghancurkan dunia pengintipan. Orang awam Amerika terpesona dengan dunia yang tersembunyi ini dan nampaknya selalu meminati subjek ini. Menjadi ahli Muzium Perisik memberi saya peluang untuk menerangkan bagaimana ia berfungsi, bagaimana alat-alat itu digunakan melalui program latihan yang luas, dan bagaimana rupa produk kerja. Kami adalah muzium antarabangsa, jadi dekatilah mata pelajaran ini dengan lensa sudut lebar, untuk berbicara. Sambungan muzium menawarkan peluang yang jarang berlaku untuk berhubung dengan dan mendidik masyarakat umum.

Terdapat daya tarik kehidupan mata-mata yang sering digambarkan di media, terutama di filem dan televisyen. Adakah anda rasa kegembiraan ini dibenarkan? Adakah terdapat gambaran yang tepat?

Saya mengambil masa bertahun-tahun untuk memahami daya tarikan ini. Saya percaya sebahagiannya didasarkan pada gambar budaya pop pengintip (Ian Fleming, Graham Green, John LeCarre), juga pada iming-iming rahsia yang tidak diketahui, yang merangkumi semua pekerjaan perisikan. Terdapat rasa ingin tahu asas mengenai pekerjaan itu, dan anggapan tentang glamor di sekitar karya itu, yang menarik perhatian orang ramai. Sekiranya mereka tahu bahawa setiap lima minit kegembiraan, terdapat berjam-jam perincian perancangan, mesyuarat dan pentadbiran biasa . Terdapat beberapa gambaran yang saya lihat kelihatan nyata dan itulah sebabnya saya benar-benar tidak menonton banyak media bertema pengintipan. Satu pengecualian adalah orang Amerika & menunjukkan rancangan TV yang saya percaya telah menangkap etos budaya pengintip. Watak-watak kelihatan nyata situasi yang hampir dengan kehidupan, dan penyamarannya sangat hebat. BBC juga membuat beberapa karya John LeCarre & rsquos yang bagus. Dan novel terbaru Jason Matthews & rsquo mempunyai kemampuan untuk menempatkan saya kembali di jalan-jalan bersalji di Moscow dengan bahaya di setiap sudut.

Sebagai mantan Ketua Penyamaran, adakah peristiwa sejarah yang menurut anda berperanan menyamar? Sekiranya tidak, bagaimana anda fikir penyamaran telah membantu membentuk sejarah dunia?

Ya, ada sejumlah peristiwa bersejarah yang berkisar pada penggunaan penyamaran dan kami telah menerangkan beberapa di antaranya dalam buku baru kami, The Moscow Rules. Di sebuah kota di mana kami tidak dapat bertemu secara langsung dengan ejen asing kami, di mana pengawasan KGB menyusahkan pegawai kes kami, dan di mana penggunaan tradecraft adalah satu-satunya perkara yang membolehkan operasi kami berlangsung, penyamaran adalah alat yang membolehkan operasi bergerak ke hadapan. Kami menggunakan teknik penyamaran yang unik, yang berasal dari komuniti solekan dan sihir di Hollywood, untuk melindungi pegawai CIA dan ejen Rusia mereka. Alat-alat ini membolehkan produk risikan dihantar ke tangan Amerika, menghasilkan sejumlah operasi rahsia yang sangat berjaya di Perut Binatang, nama yang kami berikan kepada Moscow. Kegagalan di Moscow akan mengakibatkan penangkapan dan pelaksanaan aset asing kita. Ini adalah keadaan hidup dan mati.

Anda juga mengarang buku Spy Dust dengan suami anda Tony Mendez. Mengapa ini kelihatan mustahak untuk ditulis seterusnya?

Spy Dust adalah ikutan semula jadi dari The Master of Disguise. Kami bertemu dengan editor kami setelah penerbitan MOD mengenai koktel, dan dia bertanya tentang bagaimana kami bertemu semasa kami di CIA. Ketika dia mendengar cerita itu, dia pada dasarnya menugaskan buku berikutnya, Spy Dust. Dia fikir cerita itu akan menghasilkan buku yang sangat menarik. Ternyata, rumah penerbitnya bukan yang membeli naskah itu. Sebenarnya, ada perbincangan yang hangat, setelah naskah selesai, mengenai apakah percintaan kita tergolong di tengah-tengah kisah perisik. Kami menegaskan bahawa tidak ada buku tanpa kisah itu, dan begitulah tetap. Sukar untuk menulis, kerana ini melibatkan perpisahan perkahwinan saya, tetapi penting bagi kami, dalam beberapa tahap, untuk menceritakan kisah itu dengan jujur. Oleh itu, kami berjaya.

Mengapa orang mesti membaca Peraturan Moscow & rsquos? Mesej apa yang anda harap mereka akan mengambilnya?

Banyak orang merasakan bahawa Perang Dingin sudah berakhir dan kita harus meneruskan hubungan yang normal dengan antagonis lama kita. Peraturan Moscow dibuka dengan pemandangan malam di pintu Kedutaan Amerika di Moscow. Ditetapkan pada bulan Jun 2016, ia memperincikan pemukulan seorang diplomat Amerika oleh FSB, pengganti KGB, ketika dia berusaha memasuki kedutaannya sendiri. Pemukulan berterusan ke ruang legar kedutaan, tanah Amerika yang sah. Orang Amerika itu dievakuasi secara perubatan pada keesokan harinya dengan patah tulang. Ini berlaku pada tahun 2016, di tengah-tengah kempen presiden terbaru kami.

FSB menunjukkan konsekuensi dari The Moscow Rules hingga kini peraturan perilaku yang tidak tertulis tetapi difahami secara meluas untuk pegawai perisik Amerika di Rusia. Dugaan terbaik saya adalah bahawa orang Amerika telah melanggar salah satu peraturan tersebut: Jangan mengganggu pihak pembangkang. FSB berpegang teguh, seperti juga Putin, bekas pegawai perisik.

Peraturan Moscow adalah peraturan jalan raya yang diperlukan ketika bekerja di Moscow, kaedah yang difahami untuk melakukan diri dan operasi risikan anda yang telah membuktikan diri mereka selama ini. Mereka tidak pernah ditulis sebelumnya, tetapi difahami secara meluas oleh pegawai kami. Dan kotorannya mudah: Gunakan usus anda. Jangan mengancam. Bangun peluang tetapi gunakan dengan berhati-hati. Pastikan pilihan anda terbuka. Gunakan salah arah, ilusi dan penipuan. Semua contoh Peraturan yang baik.

Apa yang anda harap buku ini menambah legasi suami anda, Tony Mendez, dan juga buku anda sendiri?

The Moscow Rules adalah buku keempat Tony & rsquos dan yang kedua, ketiga jika anda mengira karya saya pada buku ARGO. Tidak ada antara kita yang mencari warisan. Tony & rsquos warisan sudah mapan matlamat saya lebih terletak pada bidang pendidikan. Kami selalu percaya bahawa peluang unik kami untuk berbicara untuk CIA dan untuk mendidik masyarakat mengenai pekerjaan yang dilakukan atas nama mereka adalah peluang untuk membuka pintu kepada segudang peluang kerjaya bagi orang muda Amerika yang mungkin tidak pernah memberikan bidang perisikan pemikiran kedua. Walaupun saya bukan feminis tradisional, saya dapat menjadi contoh kejayaan wanita yang berterusan dan berterusan dalam bidang ini. Dan dalam kerja kami dengan Muzium Perisik Antarabangsa, kami telah berusaha untuk mencapai tujuan yang sama. Di antara kami berdua, dan dalam buku-buku yang telah kami tulis, kami telah berusaha untuk mencapai tujuan ini.


Ejen Rahsia X

Ejen Rahsia X adalah tajuk majalah pulpa A.S. yang diterbitkan oleh A. A. Wyn's Ace Magazines, dan nama watak utama yang dipaparkan dalam majalah tersebut. Majalah ini berlangsung selama 41 terbitan antara Februari 1934 hingga Mac 1939. [1]

The Ejen Rahsia X cerita ditulis oleh lebih daripada seorang pengarang, tetapi semuanya muncul di bawah "nama rumah" Brant House. [2] Kisah Ejen Rahsia X yang pertama, Kepercayaan Penyeksaan ditulis oleh Paul Chadwick, d. 1971, yang menulis sekurang-kurangnya lima belas yang lain. Kisah-kisah kemudian dihasilkan oleh G. T. Fleming-Roberts (lahir George Thomas Roberts, 1910-1968), Emile C. Tepperman (1899-1951) dan Wayne Rogers (nama pena Archibald Bittner (1897-1966).


Ejen Larangan yang Menjadi Sarjana Penyamaran - SEJARAH

facebook Dibuat dengan Lakaran.

Reddit Dicipta dengan Lakaran.

Linkedin Dicipta dengan Lakaran.

E-mel Dibuat dengan Sketsa.

Poket Dicipta dengan Lakaran.

Papan Balik Dicipta dengan Lakaran.

Loki, Loki, Loki, apa jenis masalah yang anda hadapi sekarang. Episod kedua dari siri Disney + MCU terbaru jatuh dan ia sangat menggembirakan. Aksi, drama, perjalanan masa, dan banyak momen Loki yang indah, episod kedua mungkin lebih baik daripada tayangan perdana musim. Dan seperti setiap siri MCU yang hebat setakat ini, ia juga penuh dengan anggukan buku komik, telur Paskah yang dipotong dalam, dan petunjuk tentang apa yang akan datang. Jadi mari & # 8217s berjaya!

Telur Paskah Masa dan Tempat

Episod ini bermula pada sebuah Renaissance faire di Oshkosh, Wisconsin pada tahun 1985. Bukan hanya ini tempat yang sangat menggembirakan untuk memulakan shenanigans superhero, tetapi masa dan tempatnya mungkin telur Paskah. Dalam kisah Marvel, Oshkosh adalah tempat ibu Wendell Vaughn & # 8217 tinggal. Pemilik Kuantum Band yang asing, Wendell lebih dikenali sebagai superhero kosmik Quasar, peminat penulis Mark Gruenwald. Pencipta melancarkan siri solo Quasar 1989. Sekiranya anda membaca mana-mana penjelasan kami atau yang terakhir kami Loki Bulat telur Paskah, anda akan tahu bahawa banyak Loki berasal dari karya Gruenwald & # 8217s. Itu menjadikan telur Paskah lokasi kecil ini sebagai pertaruhan yang cukup pasti. Dan siapa tahu, mungkin Wendell Vaughn tertentu akan muncul sebagai pekerja TVA di episod akan datang?

Telur kedua kami di sini berasal dari tarikh. Marvel 1985 adalah komik Mark Millar dan Tommy Lee Edwards yang cukup hebat dari tahun 2008. Kisah ini mengikuti seorang budak lelaki yang menemui koleksi komik dan akhirnya menyedari penjahat dari dunia Marvel cuba mengambil alih dunia nyata. Ini adalah kisah multiverse dinamik yang menampilkan beberapa pahlawan super dan penjahat terbesar dari MCU.

Menahan Wira

Sebagai misteri Variant Loki menjatuhkan ejen TVA, kami mendengar lagu ikonik ini. Bonnie Tyler klasik ini bukan sahaja menjadi banger abadi, tetapi mungkin paling terkenal kepada kebanyakan orang di bawah usia 25 tahun sebagai lagu dari Shrek 2. Melihat kru berada di renfaire yang sesuai dengan tematik dan era yang sesuai Shrek 2, kami fikir ini adalah rujukan untuk itu. Walau apa pun, ia adalah pemandangan yang sangat hebat yang mungkin akan turun dalam sejarah MCU.

Mengapa Mobius Suka & # 821790?

Sesuatu yang sangat menarik mengenai Mobius M Mobius adalah fetish & # 821790snya. Walaupun & # 821790-an dalam komik adalah tempoh yang besar dan memberi kesan, kami mengetahui bahawa pengurus TVA sangat menyukai apa sahaja dari & # 821790-an. Minggu lalu adalah Josta Soda, minggu ini jet ski. Mungkinkah ini hanya menjadi rujukan era pencipta komik yang melampau? Atau adakah petunjuk ketika Mobius sendiri diciptakan? Mungkinkah TVA hanya ada sejak itu?

Cium Bayi Itu Selamat Tinggal!

Bercakap tentang jet ski itu, penutup Marvel yang sangat terkenal dan sangat lucu mempunyai satu. Pada kemuncak kemasyhurannya, Jim Lee & # 8212 dengan Klaus Janson & # 8212 mencipta salah satu sampul komik terbaik sepanjang masa: Jurnal Perang Punisher # 19. Bahagian depan menunjukkan Punisher menunggang ski dengan kapsyen yang tidak dapat dilupakan: & # 8220Anda & # 8217ve Baru Menyewa Jet-Ski kepada Punisher. Kiss Baby Goodbye! & # 8221

Tidak, ini tidak bermaksud Punisher akan muncul. Mungkin Loki pasukan kreatif tidak pernah diberkati oleh sampul ini. Tetapi jika anda membawa jet ski dalam siri Marvel, kami akan memaparkan penutup yang sangat bagus ini.

Lokis yang Bervariasi

Kami melihat beberapa Lokis yang berbeza di sini. Walaupun tidak ada satupun dari komik yang relevan, namun ia menyeronokkan. Catatan: beberapa nombor yang ditentukan untuk Varian Lokis yang dilihat dalam hologram dicampur dan diulang. Kami melakukan yang terbaik untuk merebut apa yang kami boleh! Kami juga pasti terdiri daripada semua moniker ini.

# L6792 & # 8211 Loki MCU Biasa / Dunia Gelap
# L1247 & # 8211 Tour de France Loki
# L6792 & # 8211 Hell Hulk Monster Loki
# L6792 & # 8211 Green Suit Beard Loki
# L7003 & # 8211 Perang Seksi Loki

Refleksi yang Menarik

Kami juga melihat nombor menarik lain di skrin kecil Hunter B-15 & # 8217s, kami melihat tarikh 12 April (04.12). Ini adalah kebalikan dari 12 Disember (12.04) & # 8212 tarikh terakhir varian Loki (di Perancis). Sepertinya menarik untuk diperhatikan sekurang-kurangnya.

Cenderamata Ravonna & # 8217s

Dalam peranannya sebagai ketua TVA yang jelas, kami belajar Ravonna dapat menyimpan cenderahati dari misi TVA & # 8212 termasuk yang dikendalikan oleh Mobius. Ejen Owen Wilson & # 8217 tidak begitu senang apabila kami mengetahui ketika pasangan itu bertemu di pejabatnya. Salah satu koleksi paling jelas yang dia miliki adalah roller skate rawak. Bagi peminat Iron Man sekolah lama, ini hanya dapat satu makna: sebutan ketika Iron Man memakai roller skate jet dengan jasnya. Mula debut pertama di Kisah Ketegangan # 40, skate muncul secara sporadis pada dekad pertama Avenger & # 8217s, termasuk di sini semasa era & # 8220nose & # 8221 di Manusia Besi # 81. Walaupun ini kelihatan rawak, TVA dimainkan dengan beberapa kisah Marvel yang paling menggembirakan dan paling menggembirakan, jadi kami mengambil yang ini.

Jam Tangan Hexagon

Ya, lebih banyak segi enam muncul minggu ini! Tetapi yang paling menonjol adalah di pejabat Ravonna & # 8217 dengan coaster yang digunakan Mobius. Kami mendapat raksasa dari jarak dekat di coaster, jadi sepertinya kita sepatutnya menyedarinya. Adakah kita akan belajar mengapa segi enam menjadi bentuk du jour Marvel? Mungkin tidak, tetapi ia adalah bentuk yang sejuk sehingga kita benar-benar baik dengannya.

& # 8220Loki Adalah Kancah Kejahatan. & # 8221

Ravonna nampaknya sangat anti-Loki, adakah anda perasan? Dia menggambarkan Loki sebagai momok jahat semasa berbual dengan Mobius. Dan, tentu saja, dua watak Marvel berkongsi nama. Terdapat ketua penyamaran yang memakai topeng dan kemudian yang mungkin anda fikirkan: Skurge. Walaupun ini mungkin bukan rujukan langsung kepada pelawak komedi Karl Urban & # 8217 Thor: Ragnarok, dia sangat menawan & # 8212dengan cara himbo henchie & # 8212 bahawa kita segera memikirkannya. Melihat sebagai Loki jelas juga masuk Ragnarok, menganggap ini adalah sedikit rujukan sama sekali tidak dapat dicapai.

Permainan Persatuan Nama

Semasa Mobius berada di pejabat Ravonna & # 8217, kami melihat pena Sekolah Tinggi Franklin D. Roosevelt. Walaupun beratus-ratus sekolah diberi nama presiden, fokus pada pena ini nampaknya relevan. Franklin adalah nama Reed dan Sue Richards & # 8217 anak, dan mereka & # 8217 nenek moyang Kang the Conqueror & # 8230 Juga, di belakang Loki di mejanya adalah nombor # 372, yang pastinya menjadi rujukan untuk penampilan kedua TVA di Thor #372.

Kemusnahan Asgard

Teori keren Loki & # 8217 tentang Varian yang bersembunyi dalam kiamat datang dengan merujuk kepada Ragnarok. Sekiranya anda terlupa, itu adalah kehancuran Asgard dalam filem Thor ketiga.

Roxxcorp / Roxxcart

Kami telah melihat syarikat Marvel yang besar di sebuah Loki treler, tetapi cara penggunaannya sangat menyeronokkan. Pusat membeli-belah futuristik adalah seperti Walmart mimpi buruk. Dan di sini akhirnya kami bertemu dengan Variant Loki.

Perjalanan ke Misteri Kembali

Musim ini sudah merangkumi beberapa keseronokan Perjalanan ke Misteri Telur Easter. Sebabnya adalah kerana ia adalah komik di mana Loki dan Thor berasal. # 26 di pintu di Roxxon kemungkinan merujuk Perjalanan ke Misteri #26. Cerita-ceritanya termasuk & # 8220The Man From Out There & # 8221 dan & # 8220The Machine. & # 8221 Yang terakhir ini sangat menarik kerana ia menampilkan komuniti saintifik birokrasi yang membuat kalkulator yang bosan dengan mereka dan mengangkut dirinya ke dunia lain. Keanehan sci-fi yang baik.

Di sana dia pergi, di sana dia pergi lagi

Dan ada orang, pendedahan besar bahawa Lady Loki adalah Variant Loki yang dicari oleh TVA. Ketika Loki dan Hunter B-15 menuju ke dunia aneh Roxxcorp, mereka menghadapi Varian. Loki akhirnya mendedahkan mereka sebagai & # 8212 yang benar-benar tidak dijangka & # 8212perubahan dirinya. Lady Loki telah lama menjadi peminat sehingga ini masuk akal. Apa peranannya masih belum dapat dilihat. Tetapi kami tahu rancangannya: dia menurunkan banyak caj tetapan semula sepanjang sejarah dan menetapkan beberapa garis masa baru!

Garis masa Lady Loki bermain dengan:
  • 1492 Portugal: Pada tahun 1492, Columbus berlayar biru laut & # 8230 bukan dari Portugal, tetapi penjajahannya ke Hindia Barat pada tahun 1492 mendorong Portugal untuk membuat perjanjian yang menuntut pemilikan sejumlah besar tanah. Yang mengerikan.
  • 2301 Vormir: Planet di mana Batu Jiwa disembunyikan Avengers: Endgame.
  • 1551 Thornton, Amerika Syarikat: ?
  • 1999 Cookeville, Amerika Syarikat: ?
  • 2004 Asgard: This could be a reference to the young Thor series from 2004, Thor: Son of Asgard.
  • 1390 Rome: Papal drama was occurring as Pope Boniface IX “saw to it that Ladislaus was crowned King of Naples at Gaeta on 29 May 1390.
  • 1984 Sakaar: The battle planet we visited during Thor: Ragnarok and the setting of the now-classic Planet Hulk comic book story arc.
  • 1808 Barichara: The Cabrera municipality was set up on this date.
  • 1208 Porvoo: A city in Finland, but this date would have been pre-colonization by the Swedes.
  • 1382 Ego: Whatever it is, this occurred on Kurt Russell’s living planet as seen in Guardians of the Galaxy Vol. 2.
  • 1982 Titan: This is the moon orbiting Saturn where Thanos hails from. It’s also the setting of Marvel’s first graphic novel, Kematian Kapten Marvel by Jim Starlin, published in—you guessed it�.
  • 1947 New York: There was a smallpox outbreak in New York during 1947, but it’s also a key location for Ejen Carter!
  • 1984 Japan: There were multiple disasters and new incoming political figureheads this year.
  • 0051 Hala: This is the home planet of the Kree.
  • 1999 Kingsport, USA: ?
  • 1991 Xandar: Homeworld of the Nova Corps. In 1991’s Quasar #20, the Fantastic Four teamed up with Quasar in an issue set between Earth and Xandar.
  • 2005 Beijing: In the comics Beijing sometimes holds the Eighth Gate a transdimensional portal.
One Last Comic Book Reference

Ravonna Renslayer’s Hunter helmet in her trophy case says A-23. This is a reference to her first appearance in Avengers # 23. This continues a nice trend of the MCU shows using A numbers to signify little Avengers Easter eggs.

New creator credits:

Olivier Coipel and J Michael Straczynski: Co-creators of the mid-00s Thor series where Asgard was reestablished in Oklahoma and Lady Loki first debuted.


Avs’ Gabriel Landeskog a master of disguise

Checking a new look, Avalanche left wing Gabriel Landeskog gets fitted for new suits by Han of Cherry Creek Tailor & Alterations before a recent road trip. The Swede moved to Canada when he was 16 to play major junior hockey. "It was probably the best decision of my life. I learned so much about myself that first year," he said. John Leyba, The Denver Post

Gabriel Landeskog, the No. 2 overall pick in the 2011 draft leads the Avswith a plus-11 rating. John Leyba, The Denver Post

Gabriel Landeskog hops out of his Range Rover at a Qdoba after a recent Avalanche practice, wearing a sleek leather jacket and a look that says, “Yes, I was the No. 2 pick in last year’s NHL draft. Yes, I play major minutes for the Avs, and yes, I’m only 19.”

For roughly a half hour, though, Landeskog sits undisturbed. A steady stream of lunchgoers stroll past his table, but the only autographs come from customers signing their names for debit-card burrito and quesadilla lunches.

That’s OK, though. Maybe someday there will be “Entourage” scenarios in his life, like that in his favorite TV show. Maybe some day down the road, anonymity will be a quaint memory from an innocent time.

Until then, Landeskog is OK looking like just another teenager in a burrito shop. Looks are deceiving. Next weekend in Ottawa, the rookie will represent the Avalanche at NHL All-Star Weekend, selected to participate in the skills competition.

“I’m living my dream. It’s the truth, and I’m having so much fun,” said Landeskog, the highest draft pick in team history. “But there’s still so many important games to come, and you don’t want to kind of float away in your own thoughts. Maybe after this season is over, you can sit down and think back to how crazy everything was.”

Crazy is a relative term to describe Landeskog’s lifestyle in his first NHL season. While he flies on charter jets, earns a million-dollar paycheck and stays in five-star hotels for his job, at home he’s just one of three boys under the roof of a local Denver family.

Landeskog is living with a “billet” family, a couple with two younger boys. Similar to the traditions of junior hockey, NHL players often live with families their first few seasons in the league. Landeskog prefers to keep the name of the family private.

“They let me do my thing,” he said. “We were up in Breckenridge for Thanksgiving with them, and it was great, my first kind of American Thanksgiving experience. I like to play pingpong, video games, pool, mini-sticks &mdash anything like that with their two boys. I’m only 19, so it’s nice to still feel like a kid again with them.”

Some young players live with older veterans, such as Matt Duchene did with Adam Foote his first two seasons. Alex Tanguay once lived in Patrick Roy’s basement, and Ryan O’Reilly lived with Darcy Tucker and his family.

The truth is, Landeskog probably is beyond his years in maturity and self-reliance. After all, he left a comfortable family and hockey life in Sweden at age 16 to play hockey in the tough Canadian junior system, with the Kitchener Rangers of the Ontario League. There, he became the first European captain in Rangers history.

“When I sit back and look at my decision to move to Canada at 16, it was probably the best decision of my life. I learned so much about myself that first year, just getting away from what was safe and secure,” said Landeskog, who has nine goals and 22 points in his first 48 games and leads the team with a plus-11. “Of course, it’s tough to be away from friends and family. But at the same time, for me to be living my dream now, I don’t think I’d be doing that if I stayed back in Sweden. My dream was to always play in the NHL.”

Landeskog has fond memories of being a “skate kid” at a Swedish pro game and shaking the hand of a pro player. He wanted hockey to be his life from that point on. Things have gone like clockwork toward his NHL goal, but it’s easy to see in his demeanor that he wants a lot more.

“I just have to work harder at different things, to get a little better each and every year,” said Landeskog, who keeps in touch with his parents and sister in Sweden by Skype. “It’s still early. You’re going to have ups and downs. I probably would have loved to have scored more goals, but then there’s times when you have to just look at yourself and say, ‘Keep doing what you’re doing.’ I’m pretty close with (Carolina’s) Jeff Skinner, because we played together in junior, and he’s helped me with things like, ‘Don’t get too high when things are going good or too low when they’re going bad.’ I think that’s very important, to kind of stay in the moment.”

Avs coach Joe Sacco sees nothing but bright days ahead for his young star. “He’s really done a lot of good things for us,” Sacco said. “He’s a big part of our team already. You don’t say that about too many 19-year-old players.”

Landeskog, called “Whitey” or “Landy” by teammates, may not be recognized by the local public just yet. But his presence has been felt in the organization.

The Gabriel Landeskog file

Kedudukan: Avalanche left wing

Selected to represent the Avalanche at the NHL All-Star Weekend in Ottawa next Sunday.

One of 12 rookies who will participate in the NHL skills competition Saturday,

Leads the Avalanche in plus/minus (plus-11), shots-on-goal (140 and is tied for first in game- winning goals (two).

Is the highest draft pick in Avs history.

First player in franchise history to wear No. 92.

Had his first career multigoal game, which included the tying goal with 1:48 left in regulation, Oct. 22 at Chicago.

Tallied his first NHL goal Oct. 12 at Columbus, the tying score with 41 seconds left in regulation to send the game into overtime.


CIA's former chief of disguise Jonna Mendez on how to hide spies

One of the final testing grounds for disguises specially designed for the CIA's operations officers &mdash particularly those still coming begrudgingly to terms with wearing wigs and prostheses &mdash was centrally located and usefully crowded, according to the agency's former chief of disguise, Jonna Mendez.

"We would send them to the cafeteria at the agency," she said. "We'd send them down to go have lunch with everyone who knew them: their boss, their peers, their subordinates. Everybody was there."

"And that could be a very come-to-Jesus moment," she said. "When they discovered that nobody paid any attention."

In an interview with "Intelligence Matters" host and CBS News senior national security contributor Michael Morell, Mendez, who spent nearly 30 years at the agency before retiring in 1993, said the disguises she and teams around the world would create in the agency's Office of Technical Service could be life-saving.

"We disguised any intelligence officer or asset who had a need, either for deniability [or] possibly for personal-safety reasons, in order to be able to step away from a surveillance situation," she told Morell. "There were lots of situations where disguise was the obvious remedy."

One of them, she said, included handling so-called "walk-ins" &mdash potential but untested agents who enter an embassy to volunteer information. Intelligence officers can often take the first meeting.

"It quickly became apparent, when terrorism started raising its head, that those officers needed protection, when they're walking down and meeting with you-don't-know-who, and you don't really understand, initially, what their intent is," Mendez said. "So we used with them what we would call light disguise" &mdash just enough to mask their identities without being unduly elaborate.

"It was enough to conceal who they were, when they walked out of the embassy at the end of the day," she continued, "and somebody would not follow them home, for instance, and see where their house was and see where their family lived and set them up for something untoward."

"Intelligence Matters" Podcast With Michael Morell

Disguises used by the agency could involve typical props &mdash wigs, beards, masks, or fake ears &mdash but more sophisticated techniques have also evolved, Mendez said.

"We have people who have chemistry backgrounds, who evaluate materials for us, who actually invent materials for us," she told Morell. After modeling some disguises on Hollywood masks, which were usually made of latex, Mendez said, the CIA soon sought out better techniques.

Latex masks, she explained, "were uncomfortable. They didn't breathe. If you were in a climate with any humidity, they were suffocating."

"So we went off chasing other materials that would animate more, that were breathable, that were easy on, easy off," Mendez said.

Hair posed a similar problem. "We like to use real hair," Mendez said, "But that's a problem, especially if there's humidity. So then we use Kanekalon and things like that," she said, referring to a synthetic material typically used in hair extensions.

"And then there's a problem, security-wise. Because if you look at it with infrared, it looks like a glowing snow cone on your head," she explained. "We were always chasing down those kinds of things."

Mendez also discussed her marriage to Tony Mendez, a celebrated former CIA officer and master of disguise who was famously portrayed in the Oscar-winning film "Argo." The two had met while on assignment overseas and been married for nearly 30 years.

They had just finished working together on a new book, "The Moscow Rules," about their time spying in Russia during the Cold War when Tony passed away last January.

"Tony always said that working at the CIA was drinking from a firehose, and that retiring was like jumping from a moving train," Mendez said. "I think what Tony and I have tried to do is open it up enough where young people could consider, maybe, this kind of work, government work, as honorable work."

"Now, I know that CIA has 50,000 applicants a year," she continued. "They are not worried about getting to the bottom of the barrel."

"But we just like to encourage people to consider it as a career option."

For much more from Michael Morell's conversation with Jonna Mendez, including highlights from her new book, "The Moscow Rules," you can read the transcript here and subscribe to "Intelligence Matters" here.


How to Become a Master of Disguise

Perhaps you'd like to get a job as an international spy with the Central Intelligence Agency. You might want to do your research and due diligence on what that really means before submitting an application. The glitz and glamour of film and television shows lend fantasy elements to the concept of disguise, but some people really can become masters at this art. They are typically those who study for years in theatrical departments of major universities. Make-up artists and costume designers are the people who often bring alive the characters of film and television. To master disguise, you will need to invest considerable time, finances and maybe even some high-tech gadgetry.

Train in dialects and learn languages that appeal to you. Become fluent enough to make easy conversation. Study with a voice teacher to learn how to alter your voice to upper and lower ranges. You may need a voice device to help you. The voice is often overlooked by people who dress up and think they can fool family and friends. The voice is the first giveaway -- when you can disguise your voice consistently, enough to fool even audio recording comparisons -- then you can add the outer layers of costume and make-up.

  • Perhaps you'd like to get a job as an international spy with the Central Intelligence Agency.
  • The voice is the first giveaway -- when you can disguise your voice consistently, enough to fool even audio recording comparisons -- then you can add the outer layers of costume and make-up.

Attend a prominent college or university known for its theatre department. Find the professors with awards and kudos and study with them. Take courses in make-up and hair design, including wigs, ageing, racial, ethnic and effects. Practice with hair dyes, cuts and styles in combination with various make-up themes and costuming. Master make-up arts and you're on your way. Be careful with some of the toxic forms, though, as they can cause skin irritations and rashes -- you'll be taught this through reputable schools.

  • Attend a prominent college or university known for its theatre department.
  • Practice with hair dyes, cuts and styles in combination with various make-up themes and costuming.

Study costume design and implement the designs you create. Learn about layering, padding, thinning, elongating and other factors that give the illusion that a person is taller, shorter, heavier, etc. Study costuming history and current fashions. It doesn't bode well to show up in Paris in a 1940s steelworker outfit that makes you stand out against the well-dressed citizens walking about in 2011.

Take acting classes and perform live on many types of stages for different theatre companies. Your talent will escalate you into better roles. These roles provide you the necessary talents to "become" different people.

Practice your knowledge and talents by combining your voice, make-up, hair, voice and clothing, then visit friends and family to test your abilities. Once you have fooled all of them (not just a few), continue to your job and work outward into the community at large. When you have convinced a visiting Irish author or a Kenyan drummer that you are from the same clan or tribe, you are getting closer to the goal of mastery.

You could get a government job that requires disguises, but you will still have to train at length to become a master. Governments have high-tech, state-of-the-art equipment that can accelerate certain aspects of your goal, but to get such a job will require a number of other skills as well. Disguises for Halloween, concerts, programs and events can be great fun to create, but remember who you really are under there and where to draw the line between having a playful good time and getting seriously sidetracked.


Newton J. Jones, Makeup Artist to the Spies

With a change of posture, a bit of car grease, and some soot from a stovepipe, a spy could quickly transform himself from a respectable businessman into an innocuous hobo. The OSS knew the “surest way to hide is to be one of the crowd.”

A peacetime Hollywood cosmetics expert became an OSS master of disguise, helping wartime agents hide in plain sight.

UNITED STATES NAVAL RESERVE Specialist Second Class Newton J. Jones stood 5 feet 9 3/4 inches tall. He had short-cropped brown hair, a prominent nose, and the pale complexion of his mother’s Swedish ancestors. In the summer of 1944, he was 36 years old, with laugh lines beginning to deepen around his slate-gray eyes.

But all that could be changed in an instant.

Jones knew that if he slumped his shoulders and wore his trousers low on his hips so that the fabric pooled at his ankles, he could shave several inches off his height. Allowing his jacket to hang open, its pockets stuffed with newspapers to weigh it down, would enhance the effect. Shoeblack painted on the collar and cuffs would make the garment appear soiled from nights spent sleeping rough, and some car grease stippled across his cheeks would mimic a days-old beard. His hair and eyebrows could be blackened with soot from inside a stovepipe the same ash, mixed with rust scraped from a water heater vent, could be used to create the appearance of heavy bags beneath his eyes, gaunt cheeks, and a crooked nose, perhaps broken in a long-ago bar brawl. A small stone slipped into the heel of one of his socks would give him the stuttering step of an ailing man—and suddenly, Jones was no longer a hale American naval specialist on a secret assignment from the director of the Office of Strategic Services. He was a stooped and elderly tramp, easily overlooked on the streets of any city.

Jones’s ability to transform one person into someone else entirely was invaluable in Hollywood, where he had been an in-demand movie makeup man for more than a decade, but now he had been asked to take his talents into the operational theaters of World War II. Armed with only his makeup kit, Jones would teach the espionage agents of the OSS how to hide in plain sight. “If just one of the things you learn will save the neck of just one operator in this war—it is well worth all the effort we have put into it,” Jones told the spies he drilled on personal disguise in 1944 and 1945. “Remember—that man might be you.”


Naval Reserve Specialist Newton J. Jones turned his skills as a leading Hollywood makeup artist into a valuable wartime asset for the OSS. (Arkib Negara)

OSS DIRECTOR Bill Donovan wanted his agents everywhere. “Wild Bill,” as he was known, had convinced President Franklin D. Roosevelt to establish the intelligence organization in June 1942 with the promise of a new weapon for the war: information. “Strategy, without information upon which it can rely, is helpless,” Donovan warned the president. To obtain this valuable intelligence, he staffed the OSS with “men calculatingly reckless with disciplined daring.” The next challenge was inserting his spies behind enemy lines, a mission that would require the cooperation of America’s allies. Donovan had spent early December 1943 in testy negotiations with China’s intelligence chief, General Dai Li, for permission to send operatives into that country to surveil the encroaching Japanese forces. In late December, the director headed to Moscow in hopes of forging an alliance with the NKGB, the Soviet secret police. But there would be no bargaining for access to Germany.

The question of how to infiltrate the Reich was on the director’s mind as he hopscotched around the Mediterranean in the winter of 1944. There, Donovan heard stories of thousands from France who had been pressed into labor at factories in Germany. Could OSS agents pass as young French workers? “I directed that a study be made at once to determine if something might be done to instruct intelligence agents in the use of simple disguises,” Donovan informed his deputy.

The London branch of the OSS already had a props department to rival that of any movie studio. The Research and Development Division’s secret “Camouflage Shop” was located at 14 Mount Row in London’s upscale Mayfair neighborhood. By the time Newton Jones arrived in late summer 1944, printing presses clattered and sewing machines whirred, producing counterfeit documents and picture-perfect European clothing, some secured with hollow buttons for hiding contraband. Even among the closed-lipped agents of the Camouflage Shop, Jones and his mission were a cipher. “No information or advanced notice was given relative to his arrival,” complained one higher-up, and “he is reluctant to pass on any information to us.”


The company founded by makeup mogul Max Factor, here with actress Bette Davis, loaned its cosmetics workshops to the American war effort. (The Hollywood Museum)

The mysterious Jones had been a member of the OSS’s Field Photographic Branch since 1942. The branch itself got its start in Hollywood in 1940 under the direction of John Ford. As in the credits of his Oscar-winning movies, Ford took top billing as commander of the Naval Reserve unit cinematographers were his lieutenants and grips, special-effects artists, and makeup men populated the lowlier ranks. In its earliest days, when the United States was still at peace, the reserve unit had mustered on a giant soundstage at 20th Century-Fox. The dimensions of a ship’s deck were taped out on the floor. The men learned—as every navy man must—to salute when coming onto the quarterdeck, but they drilled not with guns, but with Mitchell cameras and the film ends left over from Westerns and love stories. When the war came, “the cream of Hollywood motion picture technicians”—as Donovan said when he brought the naval unit into the OSS—aimed their lenses at coastlines and airports, trade routes and troop movements, and produced training videos. Jones had a decidedly unglamorous job in postproduction, adding title screens to the footage—until 1944, when Donovan’s disguise request arrived.

Lieutenant Ray Kellogg, the acting head of the Field Photographic Branch, had known Jones was the right man for the undertaking Donovan described. Jones had been in Hollywood since the arrival of the talkie. From his start as a blueprint boy for famed Paramount art director William Cameron Menzies in 1928, Jones had made his name as a makeup magician. When, in 1937, Jones transformed mezzo-soprano Gladys Swarthout into a 1920s Austrian beauty for Champagne Waltz, she told people she had the “bewildered feeling she is someone else every time she peers into a mirror.” Other subjects, though, were far less willing. After Jones wrestled Henry Fonda into pancake makeup in 1938’s I Met My Love Again, someone tattled to the papers about the star’s aversion to cosmetics. As one reporter described it, Fonda “practically has to be bound and gagged before a makeup man can get a dash of this or that on his face to kill a shadow in a close-up for some particular scene.”

The persuasive makeup man also had a knack for making something from nothing: Jones had carved soap into an army for the miniature sets used to create sweeping battle-scapes in Cecil B. DeMille’s Perang Salib in 1935 and painted a Great Dane into the spitting image of a tiger for another film. After so many years in showbiz, Jones was “touched,” the OSS personnel department cautioned, “with some of the frenetic drive and tension of the industry,” and there was a “component of instability in this man.” But in a city under siege, tasked with rapidly training agents destined for enemy territory, those qualities would be more benefit than detriment.

JONES SPENT the month of September 1944 in London developing a curriculum on the basics of disguise, both quick changes with materials scavenged from one’s surroundings for eluding pursuit, and character changes with professional makeup for long-term undercover work. He would train both agents preparing for espionage missions and those who would teach these skills to others.

“It will not try the impossible: to turn them into skilled make up men in a few easy lessons,” Jones reminded his superiors. “All, however, should be able to learn enough basic rules and tricks on disguises to make the effort well worth while.” He would show pupils how to transform their clothing, change their posture and gait, and reshape their features. False mustaches would be a particular point of focus Jones spent significant time locating a reliable source for the delicate, handcrafted prosthetics. Most importantly, though, he planned to instruct on human behavior. In his first lecture, he advised, “People as a whole, fortunately, are very unobservant. Put an accepted commonplace label on a man or a thing and most people never go any deeper. The surest way to hide is to be one of the crowd.”

Jones’s first two students were “Gene” and “Bob,” two agents whom he referred to in memos only by those code names. Gene and Bob were assigned to “Milwaukee Lookout,” a new outpost established in Luxembourg for the purpose of infiltrating Germany. He only needed a few hours with them on Friday, October 6, before putting their new skills to the test the following day. The men collected materials—rust, soot, and ashes—and together spent nine minutes giving Gene a “quick change.” With his arms akimbo, a coat gathered loosely in one crooked arm and a hat held in his hand at his other hip, his stance casual, his face bare and his smile wide, Gene was short with a solid build, an affable salesman. Moments later, wearing the hat and a pair of dark-rimmed glasses, a carefully trimmed mustache attached with spirit gum above a tight grimace, his shoulders thrown back and spine straight, Gene was a tall, slender, and severe attorney. He “wandered through the bldg. and classes,” Jones noted. “All students saw him none recognized him.”

Despite this success, Jones would not be in London for much longer. His superiors believed his skills were also needed in the Pacific Theater. Before he departed in late October 1944, he began writing a 33-page manual titled “Personal Disguise” to be distributed to OSS bases. It covered everything he had taught to Gene and Bob and offered the same advice, in all caps, that an actor might hear on a Hollywood soundstage: “Disguise must be to a great extent an internal matter. The less there is of it on the outside the better.”


In 1944, Jones and the Field Photographic Branch produced the secret “Personal Disguise” manual, with detailed instructions on how agents in the field could affect their appearance. For example, with nose plugs or pads of paper tucked under his lips, an OSS man could easily alter his facial features. (Arkib Negara)


(Arkib Negara)

THE TRICKS AND TOOLS of a Hollywood makeup artist had served Jones well in London. The well-known brand names he relied on needed little adaptation for use in the agents’ European destinations. Max Factor No. 6 blue-gray eye shadow transformed alert eyes into tired ones on a backlot or in Vichy France. Arrid antiperspirant may have been more commonly found underneath arms in Los Angeles, but the same formula could be rubbed along the upper lip to keep a hair lace mustache in place in Slovakia. And Inecto Rapid hair dye was as convincing on the big screen as it was behind enemy lines—though only for assignments lasting fewer than two weeks, lest the spy’s roots begin to show.

The same was not true in China, Burma, India, and Singapore, where Jones was dispatched beginning in November 1944. There, the air was heavy and humid, mosquito repellent was essential, and the missions undertaken by the OSS’s Detachment 101 were those of a special-forces group, not of undercover agents. They ambushed Japanese troops, trained local militias, and rescued downed airmen. In Europe, Jones had been concerned with the close-up spies had to withstand face-to-face scrutiny. In Asia, he was preoccupied with the long shot—the long shot of a Japanese sniper for whom a white American operative among brown-skinned local troops was an “automatic bull’s-eye.”

“It is absolutely essential to know the individual problems involved before it is possible to know the materials to use or how best to use them,” he argued forcefully in a memo to Lieutenant Kellogg. Each region presented its own challenges, and none of the methods that Jones had devised in London could be applied in Asia. “The wrong materials for a particular area are worse than nothing—They are dangerous as hell!”

The men of Detachment 101 needed something Jones did not have in his makeup kit. They needed “war paint.”


Jones created a unique skin rub composed of red, yellow, and black iron oxide powders which, when blended in various proportions, could produce different camouflaging flesh tones. The storyboard for his “War Paint” training film demonstrates how to mix the powders in the field. (Arkib Negara)


(Arkib Negara)

IN THE FOGGY ASSAM VALLEY of far eastern India, the resourceful Jones set about manufacturing a potent skin-coloring agent concocted from the same iron oxides that provided pigment for the eye shadows and lip rouges he was familiar with. It took much trial and error to find the combinations of red, yellow, and black oxides to mimic the complexions of the region’s different ethnic groups. “This is it,” Jones finally wrote in a February 6, 1945, memo smeared with a rusty red powder, which, when spread in varying amounts on exposed skin, could effectively disguise an outsider.

At first Jones made the war paint by hand, measuring the colors as carefully as he could in the field and grinding each batch for 15 minutes in a mortar. If he tapped and tamped the power, he could press 13.5 grams into a small, easy-to-hide vial, enough for 25 applications. Jones made 50 vials—about two days’ work—which were dropped for troops on and behind Japanese lines, and then made 100 more. When Colonel Ray Peers, commander of Detachment 101, requested another 3,000 vials, Jones enlisted the most prominent Hollywood cosmetics producer for help.

Max Factor & Company was synonymous with “makeup” in the motion picture industry. When the greasepaint sticks used in stage production proved inadequate for the early era of Hollywood, the company pioneered a creamy foundation that looked just right under studio lights. By the ’20s, the firm had a full line of film-friendly products and a reputation for beautifying the industry’s biggest stars, including Lana Turner and Rita Hayworth.

The cosmetics company supported the war effort publicly with Tru-Color lipstick—the brand on the lips of every pinup girl—and leg makeup, a liquid substitute for the nylon stockings rationed during the war. More quietly, Max Factor lent its research and development department to the U.S. government. Jones knew that the microgrinding machine used to produce fine powders for the firm’s cosmetics could make war paint. He rushed back to the States in the spring of 1945 to strike the deal and, with the company’s help, also developed a hair black that could withstand the sweat and rain of the jungle. The company hired extra help to fulfill the contract, and, by the end of the war, it produced at least 8,000 containers of skin and hair coloring to be carried by troops operating on the front lines in Asia.


Working near enemy lines in the Pacific Theater, OSS agent Bob Flaherty applies Jones’s concoction to darken his exposed arms and face, making him less of a target for Japanese snipers. (Critical Past)


(Critical Past)

Jones never received a credit for the most important makeovers he ever did, but some of his efforts were captured on film. In 1945, Jones himself produced an eight-minute movie for the Field Photographic Branch on the proper application of war paint. He carefully sketched out a storyboard and wrote and rewrote the script. The final scene, filmed on location in the Pacific Theater, introduces fellow OSS agent Bob Flaherty—“a man,” the narrator intones, “who knows this war.” The young guerrilla fighter looks like the type of leading man who would argue with Jones over the need for makeup, but Flaherty applies the war paint quickly and expertly.

“Do you like that stuff, Bob?” the narrator asks the agent.

“You’re goddamn right I do,” Bob mouths.

This article was published in the August 2020 issue of World War II.


Master of Disguise / The Dominatress by Savage Grace (2010) Audio CD

Very rarely is a remastered edition of an album SO good that it completely makes you re-evaluate the original album & its place in history. Such is the case with the amazing reissue of Los Angeles cult metal legends SAVAGE GRACE(you may remember them from "Metal Massacre 2" & their KILLER track "Scepters Of Deceit") and their 1985 classic "Master Of Disguise" LP. For those of you who like me grew up listening to "Master Of Disguise" on vinyl, then you'll understand exactly what I'm talking about. The original "Master Of Disguise" LP sounded like it was mixed and mastered by either someone more concerned with snorting coke than producing a killer sounding LP, or by someone with NO experience in the studio. The mix was uneven, lacking bass, contained a terrible drum mix, and was generally just a mess. Which was SUCH a bummer, because any right minded metal fan could tell that the musical substance of "Master Of Disguise" was just great! With their high-energy, proto-speed metal crossed with Maiden styled licks(played at 45 RPM) it didn't take a metal expert to recognize these guys meant serious business! Tunes like "Bound To Be Free", "Sins Of The Damned", the raging title track "Master Of Disguise", "Sons Of Iniquity", "Betrayer", hell, every track on "Master Of Disguise" was simply AWESOME! It's unfortunate that "Master Of Disguise LP would be the only recording made with vocalist Michael John Smith(future vocal duties on 1986's "After The Fall From Grace" LP were handled by guitarist Christian Logue), as he was quite a talented vocalist and a perfect fit for the SAVAGE GRACE style.

But now, praise the metal gods, we have a re-issue that includes a remixed/remastered version of "Master Of Disguise" LP which corrects all the flaws of the original LP master/mix without altering history and fundamentally changing the album. The bass levels are corrected, the drums are actually audible, and FINALLY these killer songs can be enjoyed to the max without putting up with the terrible sound of the original LP. I hope that this "new" version of "Master Of Disguise" will not only blow away those who've never heard the album, but more importantly, gain the attention of those who may have passed up the album back in '85 due to its rather poor production. Now, the talent, brilliance, and power of SAVAGE GRACE is here for all to hear.

In addition to the rad "Master Of Disguse" LP this great CD contains SAVAGE GRACE's classic debut mini-LP "The Dominatress" from 1983(featuring the enthusiastic, if at times a bit rough technically speaking, super-high pitched vocalist John Birk, who would be replaced following the release of "The Dominatress" by the aforementioned belter Michael John Smith for the "Master Of Disguise" LP). The sound quality of this classic piece of early US heavy metal is also MUCH improved and has NEVER sounded better! Those of you with the original vinyl or any of the bootleg versions that have come out over the years will be STUNNED by how great "The Dominatress" sounds. Unlike the high speed and frantic pace of "Master Of Disguise", "The Dominatress" is a bit more traditional(it was '83 after all) in its approach(yet it is still an important example of US proto-speed metal). This is early US metal at its finest. Songs like "Fight For Your Life"(featuring some jaw-dropping, sky-high vocals from vocalist John Birk), "Curse The Night", and the awesome title track, "The Dominatress" is a vintage piece of underground early 80s US heavy metal.

This release would be mandatory if it were ONLY "Master Of Disguise" and "The Dominatress". But IN ADDITION to these two classics you get four SERIOUSLY BADASS bonus tracks! Three demo tracks from 1982 including the totally mind-blowing tune "Scepters Of Deceit"(seriously one of the raddest early 80s metal tunes-I cannot believe SAVAGE GRACE did not include this amazing song on either of their first two vinyl releases, although it is on the "Metal Massacre 2" compilation from '82) and an awesome alternate version of "No One Left To Blame" from SG's 1984 Demo. These four bonus tracks aren't just filler tacked on to bulk up the release, they're seriously mandatory SAVAGE GRACE rarities!

This release also comes with a HUGE booklet packed with VERY in-depth liner notes explaining the early history of the band, the reasons for the constant line-up cahnges(especially regarding vocalists), and technical info on the release itself and the remix/remastering techniques which were used to breathe new life into these two recordings. There are also tons of photos, lyrics, and a cool glossy cardboard slipcase which the jewel case slides into. In so many ways this is the cadillac of heavy metal re-issues(matched only by the great re-releases put out by labels like High Vaultage, etc.).


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