Selling A Culture Of Ignorance To The Young

IgnoranceQuote2
Selling a culture of ignorance to the young: key moments

Sam Cooke: Don’t know much about anything, what a wonderful world

Source: NoMoreFakeNews.com | JonRappoport.wordpress.com
Jon Rappoport
April 3, 2017

As my readers know, I’ve been documenting the downfall of education in America for a long time. My basic logic course, contained in my collection, The Matrix Revealed, is one antidote.

Aside from what happens and what doesn’t happen in the classroom, the promotion of a popular culture devoted to glorifying ignorance certainly erodes children’s ambition to learn.

Let’s return to a “more innocent time” to pick up a clue, and a turning point.

Wonderful World, composed by Sam Cooke, Herb Alpert, and Lou Adler, broke on to the scene in 1960. It had legs. Later covers of the tune climbed the charts in 1965 and 1978, and then Cooke’s original performance was resurrected as a hit in 1985 and 1986:

Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

Just another sentimental popular tune; who cares? No one; except the lyric awoke a vast underlying YES in many hearts.

I don’t know nothin’, but love will carry the day, and the world will be wonderful then.

The obvious message: there is a shortcut to happiness. Learning is beside the point. It’s irrelevant. Just listen, the singer has found the key. He’s basically ignorant, but it doesn’t matter. If he can convince Her to love him, he has the answer the world has been waiting for.

He’s the hero. He’s the example.

Knowledge is just a con. It gets in the way. It creates adults. That’s a horrible fate. Remaining a child wins the prize. Children don’t have to worry. All they need is love. Let’s somehow reduce EVERYTHING to THAT.

As for Sam Cooke himself, well, he began singing with a group when he was six, he later composed a number of hit tunes, he launched his own record label (SAR), he put together his own music publishing company and a talent-management outfit. I don’t know what he knew and didn’t know, but he knew something. He worked tirelessly for years. (At the age of 33, in 1964, he was shot and killed in a Los Angeles motel. The circumstances surrounding his death are in dispute.) Point is, the Cooke who was singing about being ignorant was far from ignorant—as is the case with many performers who convincingly launch childlike sentiments to audiences for mass consumption. But these audiences, enveloped in the “feelings,” rarely bother to consider the source and the intelligence of the source.

Popular culture is a back-and-forth affair. The artist relays a quick dream, and the public buys it, because the dream arouses some latent idea that proposes a shortcut to happiness. An out.

The artist and his handlers are always looking for the fabled hook; the phrase that will pull in the crowd and galvanize their reaction.

Eventually, after years of swimming in pop culture, the tuned-up audience is conditioned to the notion that life’s secret has to be one hook or another. Little else is important.

Certainly, work is not important. Striving is not important. Ambition is not important. One’s own creative impulse is not important. Learning is not important. Those are all dead ends. Instead, something much simpler and easier (and vaguer) has to be the key.

In the realm of politics, there is a carryover. The answer in that arena would be simple, too. Greatest good. Love everybody right now. Kinder, gentler. I feel your pain. It takes a village. No child left behind. Hope and change. Yes we can.

Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

If you just took the last three lines of that lyric and eliminated the rest, you’d have…nothing. No hook, no impact. But add the “don’t know” piece, and you’re striking gold. Because the audience of mostly young people wants the “don’t know.” That’s what they’re looking for. A boil-down into the effortless item that allows them to win what they yearn for, by pleading ignorance. Perfect.

Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be
Don’t know much about geography,
Don’t know much trigonometry
Don’t know much about algebra,
Don’t know what a slide rule is for
But I do know that one and one is two,
And if this one could be with you,
What a wonderful world this would be
Now, I don’t claim to be an “A” student,
But I’m tryin’ to be
For maybe by being an “A” student, baby,
I can win your love for me
Don’t know much about history,
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be
History
Biology
Science book
French I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

I can’t resist tossing off a salute to the Beatles, because if you think Sam Cooke was scraping the bottom of the barrel, his lyric was Shakespearean laid alongside the 1963 Lennon/McCartney offering, I Want to Hold Your Hand. This was not the Beatles of Eleanor Rigby or even Hello, Goodbye. It was the early rocket that set off the first US explosion of Beatlemania.

Get a load of this lyric:

Oh yeah I tell you somethin’
I think you’ll understand
When I say that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
Oh please say to me
You’ll let me be your man
And please say to me
You’ll let me hold your hand
Now, let me hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It’s such a feelin’ that my love
I can’t hide
I can’t hide
I can’t hide
Yeah, you got that somethin’
I think you’ll understand
When I say that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It’s such a feelin’ that my love
I can’t hide
I can’t hide
I can’t hide
Yeah, you got that somethin’
I think you’ll understand
When I feel that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
I want to hold your hand

The single of the song sold five million copies in the US. It was folded into an album, Meet the Beatles!, which soon piled on another 3.5 million sales. The 1960s were off and running.

Nothing would ever be the same.

I’m told the real hook in I Want to Hold Your Hand is the opening phrase: “Oh yeah.” The kids loved it right away.

And if you want culture, you’ve got to go to the kids. They know what’s happening. They’re on the cutting edge…

Of the cliff.

It quickly became apparent to ad agencies, and corporations, and politicians, and media barons, and even the medical cartel, that targeting children was the new Thing. Don’t raise them. No. Bring the adults down to the child’s level.

That was the breakthrough.

The kiddies want what they want when they want it.

Convert society into a diaper-dream.

Hawk that dream from Norway to the southern tip of Argentina.

Buttress it with psychological clap-trap.

Call it, I don’t know, something like…

Utopia.

Yes, that’ll work.

As long as no one THINKS.

Oh yeah.

If you reduce the English language to the level of the two songs I’ve presented here, why would children in school want anything more?

They already believe they know the secret of life.

And if the “secret” doesn’t deliver the goods, it’s an easy step for the children to then consider themselves victims.

After that, the trip downhill happens quickly.

Read More At: JonRappoport.wordpress.com
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Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

It All Started With Barbara Streisand: People Who Need People

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Source: NoMoreFakeNews.com | JonRappoport.wordpress.com
Jon Rappoport
April 3, 2017

A cultural turning point.

The 1964 song, People Who Need People, composed by Jule Styne and Bob Merrill, made Barbra Streisand a star.

I remember radio stations playing the tune day after day. The sentiment of the lyric had people saying YES as they wiped their tears away. It was as if a repressed universal idea had suddenly emerged out of the subconscious of America, forming a new national anthem:

People who need people.

I couldn’t make head or tail of it. I felt like I’d suddenly moved to Mars.

But there it was: “People who need people are the luckiest people in the world.”

What?

Of course, the song moved on to talk about love and finding one very special person—sure, everybody was on board with love and romance—but even then we were told: “first be a person who needs people.” As if that were the pre-requisite for love.

People who NEED people. The stunner. The need was suddenly a marvelous plus. It wasn’t a problem. No, it was good.

Need is something that eats away at you. But don’t worry. Give in to the need. Be the need.

There is the implication that people who don’t need people are very unlucky. They might WANT the friendship and love of others, but that’s not enough. No, they have to need.

Need means “can’t do without.” If you thought that was a negative, you were wrong. Need is compulsion. But the “compulsion for other people” makes you exceedingly lucky. You just won the jackpot.

And how about this line from the song: “We’re children, needing other children.”

That’s the dead giveaway. Adults are trapped. You can’t be an adult and live your life with happiness. No. You’re really a child, and you have to admit it.

We’re all children, we’re needy children. Let’s all regress. Let’s have a society of needy children. Let’s be “dependent on our needs.”

Years later, we were given other messages that flowed from the song: It takes a village. Inner child.

People who want people, or people who love people—those lines wouldn’t have worked in the song. To hit the sweet spot, it had to be people who need people. That would create a sense of victimhood.

A new revelation. We’re victims. And that’s good. It leads us to love. That’s how we get there.

And since we’re all children needing other children, we need…parents. Isn’t that the implication? Doesn’t that follow? Who will be our parents? Certainly not the adults who raised us. That’s boring. That’s old hat. No, the parents will be some other Gentle Force.

The State.

As long as it’s a good State. And the only way we can guarantee that is by giving our consent to a government who does, in fact, see us as children, who knows we’re children (victims) with needs, and who will satisfy those needs.

Individual self-reliance, independence, determination, will power, creative force, accountability? Those are illusions. Old illusions. We use them to cover up our true condition as yearning children who need and must have other children. We’re “letting our grown-up pride hide all the need inside,” as the song goes. Aha. See a therapist today. Unload all that pride and bring out the inner child.

Of course, self-reliance, independence, determination, will power, and accountability, plus a boatload of talent, is how Barbra Streisand made it, how she became a smashing success. But with that song, she turned around and became the prophet of need for everyone else.

The 1964 tune that made her famous was a tremor in the culture. From that point on, it became fashionable and correct and even “psychologically accurate” for people to conceive of themselves as victorious victims.

Recall the key statement Karl Marx made popular (1875): “From each according to his ability, to each according to his need.” What could be clearer? I doubt Marx had a sense of humor, but had he been alive in 1964 and witnessed the reaction to Streisand’s People Who Need People, he surely would have cracked a smile, realizing…

Read More At: JonRappoport.wordpress.com
_______________________________________________________________

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Symbolic Pics of the Month 03/17

Source: VigilantCitizen.com
March 26, 2017

In this edition of SPOTM: Emma Watson, Gigi Hadid, Bella Hadid, a triceratops and some inappropriate stuff happening at the Kid’s Choice Awards.

Emma Watson is an “It” celeb at this particular moment and, of course, the media attention comes with a bunch of symbolic stuff (even photo “leaks”). Some controversy surrounded the following Vanity Fair photoshoot because Emma posed topless under a somewhat revealing shirt, prompting accusations of her being a “fake feminist”. As usual, mass media completely overlooked the core meaning of the photoshoot: Monarch mind control, where Emma is symbolically under the spell of a handler.

In this pic, Watson is trapped in a cage while birds are free around her. The cage is chained to what appears to be a piece of cloth which illustrates that her state of confinement is mental and not physical. As a whole, the image represents Watson being under mind control. On the left, we can make out a face made out of cage wire. Does it represent the handler, the one who has created Emma’s mental prison?
Here, Emma is lifted in the air by a man. Through trauma, the MK handler causes the slave to dissociate which comes with a feeling of weightlessness. In other words, this picture symbolically alludes to extreme pain and torture at the hands of a handler and the human brain’s natural response to it: Dissociation.
This image is also a reference to dissociation, specifically the feeling of total disorientation that it causes. The floating objects and the broken clock allude to the loss of the concepts of space and time during dissociation.
This piece illustrates the blurring between reality and fiction during mind control. Emma is embedded inside a picture frame in a perspective that is somewhat impossible. The image conveys the loss of one’s humanity during MK. Once again, this is happening under the supervision of the handler.

As usual, the One-Eye sign appeared everywhere in mass media in the past weeks – often in places that you would not expect … but also in places you would fully expect.

This product was promoted during the Superbowl and its logo couldn’t be more obvious: The triple 6 One-Eye hand sign (the fingers make three sixes).
While this “premium bottled water” is marketed as something very artistic and inspired (I only drink artistic water BTW), the truth is that it is owned by the Pepsico conglomerate which is owned by powerful elite people … the same people who are trying to permeate everything artistic with their symbolism.
This symbol is seen literally everywhere in Netflix’s “A Series of Unfortunate Events”. Is it a reference to the above triple 6 sign?
Guess who’s a big fan of this hand sign? You’ve guessed it. Emma Watson.
The Victoria’s Secret model Taylor Hill puts up that very same hand sign in a somewhat creative way in Marie Claire Indonesia.
More One-Eye action in Marie Claire Taiwan. This symbol NEEDS to be seen newsstands around the world.
The media conglomerate Conde Nast recently released the first issue of Vogue Arabia. On the cover is Gigi Hadid and the One-Eye sign. The title written in Arabic says: “Eye on the East”. The elite truly has its Eye on the East … and the West.
Meanwhile, Gigi’s sister Bella Hadid is doing a devil’s horn  + One-Eye sign combo to promote something.
This is an ad for an art exhibit entitled “9x9x9” at the National Gallery of Denmark. Even “national art” needs to be tainted.
A promotional poster for the movie “Kong Skull Island”. All hail the one-eyed king.
The promotional poster of the German movie “Werk Ohne Autor” = One Eye.
Every single character poster promoting Vampire Diaries features cracks around one eye.
Rihanna strategically hides one eye while being very edgy (she’s holding a lighter!) in Paper magazine.
The Kids Choice Awards is, in my humble opinion, worse than cancer and World War I combined. The fact that it is aimed specifically to kids makes it even worse than these two awful things combined. The group Little Mix delivered an uncomfortably sexual performance while wearing clothes with strange messages. The girl on the left (I don’t know her name and don’t care) is wearing a shirt on which is written “sick & twisted DEPRAVED” with a snake going inside a skull’s eye socket. Depraved means “marked by moral corruption or perversion”. Sounds about right. On the black shirt is an inverted pentagram – the symbol of black magick and satanism. The group won the award “Favorite Global Music Star”. Sounds about right.
The first image promoting the sequel of Jurassic World features a young girl looking up to a dinosaur skull. Although the skull appears to be of a triceratops, the exaggerated horns makes it reminiscent to the head of Baphomet. Before you go to the comments and type “BRO YOU REACHING BRO.”, look at this and compare.
The goat of Mendes made to fit an inverted pentagram.
The K-Pop group Six Bomb released two singles entitled “Getting Prettier Before & After” where the entire group underwent ACTUAL radical plastic surgery to change their faces. I’ve written several articles about K-Pop, its occult symbolism and the exploitation of its artists and this latest stunt further confirms the lack of control these girls have over their careers, let alone their physical integrity.

Read More At: VigilantCitizen.com

Hollywood strike? Sounds good!

Source: RT America
February 16, 2017

A bunch of celebrities signed their names on an anti-Trump ad by a group called RefuseFacism.org in the New York Times, and that somehow turned into reports of a “Hollywood strike.” While the strike is fake news, The Resident thinks it sounds like a real good idea.