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“A child educated is a child lost.”
– John F. Kennedy

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JFK on Poetry, Power, and the Artist’s Role in Society: His Eulogy for Robert Frost, One of the Greatest Speeches of All Time

“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth.”

Source: BrainPickings.com
Maria Popova

In January of 1961, as John F. Kennedy’s inauguration approached, his would-be Secretary of the Interior suggested that the poet Robert Frost participate in the ceremony as the first inaugural poet. Eighty-six-year-old Frost telegrammed Kennedy with his signature elegance of wit: “If you can bear at your age the honor of being made president of the United States, I ought to be able at my age to bear the honor of taking some part in your inauguration.” He proceeded to deliver a beautiful ode to the dream of including the arts in government, which touched Kennedy deeply.

Frost died exactly two years later, in January of 1963. That fall, Amherst College invited the President to speak at an event honoring the beloved poet. On October 26, Kennedy took the podium at Amherst and delivered a spectacular speech mirroring back to Frost that deep dedication to the arts and celebrating the role of the artist in society. Perhaps more than any other public address, it affirmed JFK as that rare species of politician who is equally a poet and prophet of the human spirit.

The speech was eventually included in the altogether superb Farewell, Godspeed: The Greatest Eulogies of Our Time (public library) — a compendium of breathtaking adieus to cultural icons like Amelia Earhart, Martin Luther King, Jr., Emily Dickinson, Keith Haring, Eleanor Roosevelt, Charles Schulz, and Virginia Woolf, delivered by those who knew them best.

This original recording of the speech, while short in length, is endlessly ennobling in substance. Highlights below — please enjoy:

Strength takes many forms, and the most obvious forms are not always the most significant. The men who create power make an indispensable contribution to the Nation’s greatness, but the men who question power make a contribution just as indispensable, especially when that questioning is disinterested, for they determine whether we use power or power uses us.

[…]

Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself. When power leads men towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment.

The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state… In pursuing his perceptions of reality, he must often sail against the currents of his time. This is not a popular role…

If sometimes our great artist have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.

If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth… In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost’s hired man, the fate of having “nothing to look backward to with pride, and nothing to look forward to with hope.”

Typed draft of the speech, edited in Kennedy’s own hand (Courtesy of John F. Kennedy Library)

But as notable as the speech itself — for reasons both poetical and political — are the parts Kennedy edited out in his own hand, including this heartbreaking-in-hindsight passage from the second page:

We take great comfort in our nuclear stockpiles, our gross national product, our scientific and technological achievement, our industrial might — and, up to a point, we are right to do so. But physical power by itself solves no problems and secures no victories. What counts is the way power is used — whether with swagger and contempt, or with prudence, discipline and magnanimity. What counts is the purpose for which power is used — whether for aggrandizement or for liberation. “It is excellent,” Shakespeare said, “to have a giant’s strength; but it is tyrannous to use it like a giant.”

Three weeks later, one of history’s ugliest and most arrogant misuses of brute power took place as JFK was assassinated, prompting Leonard Bernstein to pen his timelessly moving address on the only true antidote to violence. But the message at the heart of Kennedy’s speech continued to resonate even as his voice was silenced by brutality. Less than two years later, President Lyndon Johnson signed the National Foundation on the Arts and the Humanities Act, creating the National Endowment for the Arts — the very dream that Frost had dreamt up at JFK’s inauguration.

Complement with two more titans of poetry on the role of the artist in culture: E.E. Cummings on the agony and salvation of the artist and James Baldwin on the artist’s responsibility to society.

The JFK speech appears as the opening track on composer Mohammed Fairouz’s spectacular album Follow Poet — titled after a line from W.H. Auden’s beautiful elegy for W.B. Yeats — and can be heard in Fairoz’s wholly fantastic On Being conversation with Krista Tippett:

Read more At: BrainPickings.com

CIA Director Slams Trump For Slamming CIA

Note to readers: if the list of names and phrases in this article doesn’t ring any CIA bells, a refresher course is in order…

duplicity

Source: NoMoreFakeNews.com
Jon Rappoport
January 17, 2017

CIA director slams Trump for slamming CIA

Note to readers: if the list of names and phrases in this article doesn’t ring any CIA bells, a refresher course is in order…

By Jon Rappoport

In case you hadn’t noticed, uttering a politically incorrect comment is now a bigger crime than decimating thousands in a war.

You can bomb a country into submission and chaos, leaving dead and wounded from shore to shore, and that might be counted as a “mistake in judgment”; but using a few loaded words—or in this case—criticizing an intelligence agency—is an earthshaking event that could make the planet spin off-course…

Case in point:

The lame-duck outgoing CIA director, John Brennan, lectured Donald Trump Sunday, on FOX. NBC News reports:

“Trump has repeatedly called for a better relationship between the U.S. and Putin’s government. He suggested in an interview with the Wall Street Journal on Friday that he’d consider easing the latest sanctions on Russia.”

“’I think he has to be mindful that he does not have a full appreciation and understanding of what the implications are of going down that road’, Brennan said.”

“The CIA chief roundly denounced Trump’s approach to Russia and other national security threats, suggesting the president-elect has much to understand before he can make informed decisions on such matters.”

“’The world is watching now what Trump says and listening very carefully. If he doesn’t have confidence in the [US] intelligence community, what signal does that send to our partners and allies as well as our adversaries?’ Brennan said.”

Signal?

Mr. Brennan, the signal was sent to our partners, allies, and adversaries decades ago:

The CIA is a criminal agency.

Is that clear enough?

Long ago, the CIA criminally stepped outside its mandate, in order to shape world events it had no business participating in. Is that clear enough?

In that regard, do these names and phrases mean anything to you, Mr. Brennan?

The Gehlen Org.

Operation Gladio.

MKULTRA.

Operation CHAOS.

Nugan Hand Bank.

BCCI Bank.

Golden Triangle. Asian heroin.

Air America.

Central American cocaine. Mena.

The Contras.

Henry Luce. William Paley. Arthur Sulzberger. Operation Mockingbird.

Overthrow of Mohammed Mossadegh (Iran).

Overthrow of Jacobo Arbenz (Guatemala).

Murder of Patrice Lumumba (Congo).

Bay of Pigs.

JFK.

Diem assassination.

Rafael Trujillo assassination.

Sukarno. Suharto.

East Timor genocide.

Military coup—Greece.

Allende.

Gulf of Tonkin.

Operation Phoenix.

Laos bombing.

Sihanouk.

The Khmer Rouge.

El Salvador death squads.

On and on it goes.

See Mark Zepezauer’s book. The CIA’s Greatest Hits.

Overthrow, assassination, regime change, mind control, covert war, mass destruction, drugs, financial theft, co-opting the press…

Do you recall any of this, Mr. Brennan?

Trump (or any president) is sending a negative signal about the US intelligence community to our friends, allies, and adversaries? Are you kidding, Mr. Brennan? Are you telling some kind of inside joke?

People all over the world have known, for decades, what the CIA has been doing.

And you’re worried about the effect of a little tweak from Trump?

The murderous history of the CIA has been a cat out of the bag for a long, long time.

Professional amnesia may be your friend, Mr. Brennan, but it doesn’t convince the victims and targets of your agency’s actions since 1948.

Read More At: JonRappoport.wordpress.com

Book Review: LBJ & The Conspiracy To Kill Kennedy – A Coalescence Of Interests by Dr. Joseph P. Farrell

lbjknd
TheBreakaway
Zy Marquiez
November 22, 2016

LBJ & The Conspiracy To Kill Kennedy by Dr. Joseph P. Farrell is a landmark book into the conspiracy/coup d’etat that killed President Kennedy.

The main strength of this book is that it seeks to reverse engineer the threads of evil that wielded their ways in order to carry out one of the greatest conspiracies in modern times.

Without a doubt, this is a landmark book in every sense of the word.

In the nascent stage of this book Farrell makes it a point to lay the foundation for the methodology of the events that took place.  This helps the reader understand the angle he is going to take.

Beyond that, however, Farrell goes above and beyond what any average researcher does.  In his usual methodical, leave-no-stone-unturned fashion, Farrell not only analyzes the coalescence of interests that had a hand in the assassination – FBI, CIA, Banksters, Nazis, Masons, Mafia, Big Oil, The Military, The Secret Service – but further distills these to the deep core nexus that arguably played the most prominent roles in the assassination of President Kennedy.

Furthermore, and most importantly, Farrell, in harpoon-like fashion homes in on the most devious of all public players that played a notable role in the architecture of the conspiracy: Lyndon B. Johnson.

At minimum, the turn-coat and traitor Johnson cast his tentacles all over the official “investigation” derailing the possibility of any semblance of truth from rising to the foreground.

As Farrell notes:

“…it is certainly clear that Johnson, by his policies and behaviors after the assassination, acted as if he knew who was ultimately behind the murder, for at every turn, he acted in their interest as well as his own, in suppressing any evidence tending to incriminate him, or them.  Nowhere more did he do this more clearly than in his selection of those members of the Warren Commission itself.”[1]

What this book does is not only destroy the official story, which admittedly has been done by many other researchers, but also takes it a few steps beyond that into the realm of deeper and darker elements.  Elements that made it a point not only to carry out arguably the conspiracy of the century, but also transformed the consciousness of Americans and infused enough trauma into the social psyche the likes of which western society had not witness in modern times.  Such is the signature of those that slither behind the scenes.

With everything noted, and still so much left unsaid, everyone would be served well to read this book.  The value this book offers not only in understanding what took place that day, but the coup d’etat that took place  will help one understand why we are witnessing many of the issues we are in our society, and why things haven’t changed.  That alone should be reason enough, but the book offers countless more reasons for one to read it, as all of Farrell’s book do.

—————————————————————————————–
Source:

[1] Dr. Joseph P. Farrell, LBJ & The Conspiracy To Kill Kennedy – A Coalescence Of Interests, pg. 285.

Book Review: Crossfire – The Plot That Killed Kennedy by Jim Marrs

CRSF
TheBreakaway
Zy Marquiez
August 31, 2016

Crossfire by Jim Marrs is essentially the unofficial encyclopedia regarding the Kennedy Assassination and Coup D’etat.

In this phenomenal tome Marrs carries out a methodical examination of all the intricacies that revolved around this incident.

From breaking through the veil of the official story, to heading into the darker aspects of the conspiracy, Marrs attempts to leave no stone unturned .

Marrs takes a gander at everything from nefarious dealings of the CIA, to witness accounts that eviscerate the official narrative, to examinations of the grassy knoll as well as the depository.  Of course, there is a LOT more.

Finding peculiar – “coincidental” – instances littering the event, Marrs homes in on the issue with the ambulance that was to serve as the reason for President Kennedy’s motorcade having to stop, to countless dead witnesses [and people in the know]- 143! – and even suspect dealings with the secret service and how it acted once the assassination began taking place.  Each of this is sifted to leaving the reader aghast at such events.

Not only that, but the cover up that ensued, which no doubt involved Lyndon B. Johnson and insiders from the CIA, FBI, Secret Service, and more, is also examined at length into a variety of rabbit trails that will leave the reader furious at the fact that so many people turned their backs on Kennedy, or they were part of the conspiracy in the first place.

Issues with the infamous Zapruder film are also given a glance given all circumstances revolving around it.

The author also examines how the CIA and its notorious mind control experiments via MK Ultra might dovetail with the assassination.

As the author saliently notes:

“Since Oswald may have taken a mind-altering drug; since his killer, Jack Ruby, told Dallas police he had no recollection of shooting Oswald; since Sirhan Sirhan, the presumed assassin of Robert Kennedy, still claims he can’t remember what happened in the Ambassador Hotel; and since a San Quentin psychologist, Dr. Eduard Simson, proclaimed that Sirhan has been “programmed” by drugs, hypnosis, or both, the possibility of mind control in the JFK assassination…cannot be ruled out.”[1]

Besides homing in on Lyndon B. Johnson, the author also thankfully narrows in on J. Edgar Hoover, whose ability “to gather information and then to control it” give him enormous power.   This along with his suspect dealings within the assassination, are more than ample reasons as to why Hoover is likely very complicit in the assassination.

Marrs also lays down the fact that many witnesses were in fact intimidated by the authorities into going with the official narrative.   Regarding this, the author soberingly notes:

“Witnesses Charles Givens, James Tague, Phil Willis, Kennedy aides Kenneth O’Donnel and David Powers, and former senator Ralph Yarborough were pressured to alter their statements, while others – including Ed Hoffman, A.J. Millican, Sandy Speaker, Acquilla Clemons, and Richard Carr – were threatened into silence.”[2]

Predictably, the mainstream media – being part of the establishment – didn’t even bother in examining their testimony, nor anything else that might blow the lid on the cover up.  Then again, being the official mouthpiece of the establishment, this is par for the course.

Of course, the author also homes in on many of the interests that revolved around the assassination from Big Oil, to the Big Banks, the Mob, the Cubans, FBI, CIA, and more.

How Jack Ruby’s role plays out around this conspiracy is also given more than a fair glance by Marrs.  Interestingly, Jack Ruby dying of cancer dovetails with information from Dr. Mary’s Monkey – How The Unsolved Murder Of A Doctor, A Secret Laboratory In New Oreleans and Cancer-Causing Monkey Viruses Are Linked To Lee Harvey Assassination And Emerging Global Epidemics by Edward T. Haslam.  Haslem found that cancer was able to be induced via injection, which rings ominous since Ruby dying of an unexpected cancer certainly sent shockwaves given how many researchers have postulated that Ruby was indeed given cancer as a covert method of murder.

One of the worst parts of all this is that the cover-up continues until this very day.

Regarding this, the author notes feelings related from a JFK assassination research website, JFK Facts:

If JFK was killed by a deranged lone nut, why are so many records from 1963 considered so significant in 2012?  Why were records destroyed?  Who ordered their destruction?  Where are the Air Force One tapes?  Why can’t they be found?  Why are so many CIA documents about undercover officers with pre-assassination knowledge of Lee Harvey Oswald classified for reasons of national security?  Why doesn’t Congress oversee the JFK Records Act?  Why don’t they hold public hearings on these issues and get answers to these questions?“[3]

Or, as Governor Jesse Ventura intimated:

If the government were telling the truth, there would be no reason to lock up anything from the people of this country.  Clearly, they are not, because here we are 50 years later, and they are still withholding documents from us.”[4]

Consider this mandatory reading if you care about what’s happening to this country.

This book not only proves without a shadow of a doubt that the official story is hogwash, but it also proves that there is overwhelming evidence that Oswald was a fall guy.  Not only that, but:

“The Dallas police paraffin test showed no gunpowder on Oswald’s hands or cheek, evidence that he did not fire a rifle…”[5]

Of course, the ballistic evidence and medical evidence also support a more concerted and conspiracy into more power elements given that only a select few would have the ability to alter data related to the assassination.

All things considered, this book is a masterful analysis that not only eviscerates the official narrative, but also sheds light into many of the darker components that played a role into the assassination of President Kennedy.  It’s my contention, as well as that of other researchers that many of the elements that played a role in carrying out that assassination are still around today.  Given how much our nation has deteriorated since the assassination with every new scandal and with every new crisis, we have not rid ourselves of this deadly shadow.

And we must, for how can true change ever take place if the darkness lie embedded within a structure that should stand for good, but unfortunately hasn’t, and has only stood to support the most corrupt within the establishment.

For this, and many more reasons, this book is vital in understanding how we got into this current moment history as a society.

____________________________________________________________
Sources:

[1] Jim Marrs, CrossfireThe Plot That Killed Kennedy, pg. 172
[2]Ibid., pg. 543.
[3]Ibid., pg. 515.
[4]Ibid., pg. 515.
[5]Ibid., pg. 540.