The destruction of the family unit and the separation of generations through a well-designed culture industry

Because the last thing you want is for young folk following the previous generations and chatting to them and finding out the histories from them, people who lived through the history, they’re more important than any book.  Because real-life experiences are far more real. It’s real, real life experience, right.  That’s how you get youngsters, who really learn and get their values from, and they appreciate too the folk who had gone through hard times, and again, even still if they were the parents, they would have more respect for their parents too for going through the hard times and keeping going so that they might come along and live, you know.

The last thing you want is peace in the family. The family unit remember is a strong institution.  It had to be destroyed.  Karl Marx.  Also the World Revolutionary Movement if you want. HG Wells, ‘eh, and so on and so on. Mazzini. Albert Pike. Even the poets, you know, like Shelley.  They all belonged. Amazing histories.  Even the wife, the woman he married eventually and who her father was, it’s just… The world revolutionary movement.  That’s what they called it then.

So, you’ve got to separate the generations. And what do you do? What is the culture? Culture has generally a common, even in a class system they have a common costumery.  It could be jeans, it could be work pants, whatever it is, who cares, as long as everybody’s wearing much the same kind of stuff, depending on your class too.  You live in a nation, you have a language, which everybody would share.  That’s what a nation is. You have often, not always, but a religion of some sort, you know. Whether you believe in it or not it doesn’t matter, the fact is it gave you a lot of your values, that at the very least could help to keep you together and help each other out, at the very least when times are bad.  And you also have people who cooperate. Young to the old, old to the young and so on.  You don’t, you couldn’t go through life fighting. 

But suddenly around the late 50s, out comes Hollywood with all these REBEL type movies, rebel, young rebels, you see.  Just like for Marxism, you see.  And what did they have? Well, they’ve got different costume… jeans and all that, you know, that had turned up bottoms on the pants at the time for even jeans.  And winkle picker shoes, the pointed shoes.  The Teddy boy haircut. OR you could choose from that to the other druggies, the druggies, you see, which were the young beatniks they called them, they were into jazz. Long greasy hair and jazz. And marijuana, you know.  And atonal music.  All designed by particular groups actually that design that culture industry and ran the culture industry.

Even with, it was all groups, again they used different terminology. Anybody older than themselves was called daddy, daddy-o, you see, very groovy and all that. And square, you were square if you weren’t natural.  The natural being wild, you see, the rolling stone, round.  You had to be kind of round to roll, ‘eh, so you had square, etc. All this terminology to start insulting parents, other generations, you see.  And to separate your own generation because you would have the in lingo, the in language for your group. It didn’t come out of nowhere. Most of it was put across to the youngsters through movies. And they lapped it up. No different than television with all the teenage dramas that they churned out over the years with schools and high schools and dramas, churned out the language. Even the way it was, new dialects even which they copied in Britain as well as Canada, from parts of the US for California. It works very well.

Then you give them a music which they think is theirs.  So yeah, you had Rebel Without A Cause, you had lots of movies like that. They churned out ones in Britain. One of them was called, no kidding, it was called Beat Girl.  Beat, the beat, you know, it was all about the beat, m-hm.  So, it was the Beat Girl and the Beat Girl, you’ve got to see it because it’s the British portrayal in Britain copying what they thought was American techniques, you see, for the youth.  So, they walk around everywhere, this gang of youth.  They’re all about probably in their late 20s [Alan chuckles.] but you’re not supposed to think about that, they’re supposed to be teenagers. A couple of them have guitars which they can play, and they sound like electric guitars although they were acoustic.  And they’re never plugged into anything even if they had pickups, which they don’t, it doesn’t matter. 

They had Adam Faith, a guy that they, like all singers, was made to be a star, you see.  They don’t do it by themselves. They are picked, they are groomed for deportment more than singing abilities. The studio will do all the rest of the magic for the records, you don’t need a good voice.  You’ll see Adam Faith strumming the guitar, never on time with the music because he couldn’t play it, and things like that. But you’d see him, everywhere they go they did this jiving thing, you see. I mentioned it before, the whole idea for a long time for dancing was to get to hold a member of the opposite gender.  Something you generally couldn’t do in the public, where you could, but it was allowed during dancing.  Because again, separation of the genders was part of it.  Destruction of the family unit, destruction of the man/woman bond actually. Then promote sex without bonding, that was stipulated, right, promiscuity, sex without bonding.  Once they did that growing up, it was pretty will certain they’d never bond permanently with anybody after that, you know. That’s where we are today.

So, the Beat Girl, you see, is young and spoiled, and always angry. Always angry, you see, against her daddy.  She shows it in different ways, you see, and she’s always pouting. But always angry. ALWAYS angry, never happy. Angry, angry. Because that was the same thing like Rebel Without A Cause, always this angry young guy, and now it’s an angry young female.  She will do her own thing regardless of how bad it is, or how negative it’s going to affect, or even dangerous to her, she’s going to do her own thing with the group she was hanging about with, you see.  It’s amazing to see them trying to copy what was put out there for American culture and try to copy it into the British culture. By the dress style. The terminology, it just sounds so stupid coming from their mouths actually, which it was. And nowhere in the movie about these youngsters, who just, who also had places to go as a gang so they could dance.

Again, getting back to the point about the fact that you couldn’t hold the partner anymore.  You see you had to sort of shuffle about on the floor staring at each other’s knees.  And if you, it was like Covid time, you know, 6 feet apart. This is what they gave you to replace something that would help you bond with somebody. All by design. And the folk live through it, and they don’t know it. They don’t know why it’s happening. They just think it’s OUR generation, ‘eh.  Every generation believes this is their generation. Every one of them. They think they’re making the music. No, they’re not. And whoever is put in front of you that makes the music is just, they’re as much actors as anything else in the studio. They are put together TO BE stars.  They are bought and paid for and owned by the folk that make them stars.  All the stuff about, they just played in their own garage until they became famous. Really?  If you played any electrical gear in your own garage, you’d have the cops there arresting you for disturbing the peace in no time at all, believe you me. But that’s the kind of myth they gave you all.

[Alan Watt, Cutting through the Matrix, January 2021]

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