from The Dan Bongino Show: TRUTH LIVES on at https://sgtreport.tv/

from State Of The Nation: The International Court of Justice is Now Seated at The Hague to Consider the Self-Evident Genocide Charges Against the Zionist State of Israel The critical point here is not whether the Zionist State of Israel has calculatedly perpetrated an ongoing and utterly odious genocide in Gaza‚ as a precursor to […]

from nonvaxer420: TRUTH LIVES on at https://sgtreport.tv/

by Dr. Joseph Mercola‚ Mercola: STORY AT-A-GLANCE Documents received by investigative journalists Michael Shellenberger‚ Alex Gutentag and Matt Taibbi from an anonymous but “highly credible” whistleblower reveals new details on how the U.S. censorship-industrial complex — a network of more than 100 government agencies‚ private firms‚ academia and nonprofits — seeks to police and criminalize […]

from Dane Wigington: TRUTH LIVES on at https://sgtreport.tv/

by Jacob G. Hornberger‚ Lew Rockwell: Last November‚ the Wall Street Journal reported that suicides in the United States reached a record high in 2022. Almost 50‚000 people in the U.S. committed suicide. The suicide rate was the highest since 1941. According to the article‚ healthcare professionals blame Covid‚ illicit drugs‚ and an oversupply of firearms. I’ve got […]

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Ancient China is an extremely broad period. The country spans a huge swatch of the Earth and encompasses many thousands of years of history. Any broad generalizations should be taken with a grain of salt.  The archeological record only gives us glimpses into life in the distant past. But much can be learned from those hints and clues.  This article will give you a glimpse into what life in China was like during prehistoric times and then during the Bronze Age. Model of Middle Neolithic (5000-3000 BCE) settlement in the Yellow River Valley in northern China Prehistoric China Agriculture began in China over eight thousand years ago‚ maybe even ten thousand years ago.  The earliest evidence of rice cultivation was found near the Yangtze River and carbon-dated to eight thousand years ago. Evidence of millet agriculture has been dated to about seven thousand years ago along the Yellow River. Soybeans followed soon after. In addition to cultivating these grains and beans‚ these early peoples gathered wild fruits such as apricots and pears. They also foraged for chestnuts‚ acorns‚ and edible roots.  Eventually‚ they domesticated dogs‚ birds‚ pigs‚ and cattle. This was supplemented with wild meat from cranes‚ rabbits‚ deer‚ and fish. They used arrows‚ barbed harpoons‚ and fishing nets. With such a plentiful food supply‚ lifespans increased and infant mortality was relatively low. Longsheng Rice Terraces‚ Longsheng County‚ Guangxi‚ China. Life in the Villages There were settled villages throughout China in sites such as the Yellow River valley. These villages typically consisted of round wooden houses with thatched roots.  Some villages‚ such as Banpo and Jiahu‚ were surrounded by wide ditches – most likely used as defensive moats. These fortifications seem to have been effective deterrents to any groups that may have threatened them‚ because there is little evidence of violent deaths among these villagers.  Over eight thousand years ago‚ people in Jiahu began carving flutes out of the wing-bones of cranes. These are some of the oldest musical instruments ever discovered.  In addition to music‚ there’s evidence that these people made alcohol using rice‚ honey‚ and hawthorn leaves. Some of these Neolithic villages may have supported as many as eight hundred people at one time. They buried their dead in communal graves near the village.  The kilns that they used to make pottery were also located outside of the village’s protective moat. The earliest potter’s wheels in Chinese history were found here. The designs on their pottery often depicted humans and animals.  The people of Banpo also used a number of symbols that have been classified as a sort of proto-writing‚ the predecessor to Chinese characters.  Artifacts of the Ancient Civilizations In addition to pottery‚ people made woven baskets. Although they likely wore animal skins as their primary clothing‚ evidence of spinning looms suggests that they were also capable of making cloth‚ most likely using hemp fiber. When the Banpo archeological site was first excavated in 1953‚ Marxist historians believed that the people who inhabited this ancient village had a matriarchal culture. This view has gradually fallen out of favor‚ and little information about the village’s social structure can be gleaned from the current archeological findings.  Yangshao Culture pottery bowl discovered at the Banpo archaeological site. Towards the end of the Neolithic period‚ the Longshan culture began producing highly sophisticated black pottery with thin walls and complex shapes. The Longshan culture was also capable of farming silkworms and using their cocoons to make fabric. Their principal crop was millet; they also cultivated rice and wheat. They ate pigs‚ sheep‚ goats‚ and dogs. Walls of rammed Earth became common around 2600 BC‚ and the introduction of military weapons such as the dagger-ax suggests increased warfare around this time.  The oldest arsenic-containing copper ever found was created in the village of Jiangzhai in the Yellow River basin over six thousand years ago.  Copper bells‚ rings‚ and tools became increasingly common at this time‚ setting the scene for the Bronze Age cultures that would follow.  Tributaries of the Yellow River valley Bronze-Age China Writing Perhaps the earliest Bronze Age culture in China – and arguably the first state-level society – was the Erlitou culture. It began in the Yellow River valley around 1900 BC and spread throughout the region.  The principal city of Erlitou had a population of around 24‚000 people at its peak‚ supporting a large palatial complex. They produced a great deal of bronze. Ornamental bronze objects were often inlaid with turquoise.  Symbols were increasingly common but have not yet been deciphered. While they may be linked to early Chinese characters‚ they were probably still a form of proto-writing‚ or marks capable of communicating only limited bits of information.  The Shang Dynasty‚ also known as the Yin Dynasty‚ began around 1600 BC. This rich period of history has given us tens of thousands of bronze‚ bone‚ jade‚ stone‚ and ceramic artifacts. Chinese writing originated during the Shang Dynasty around 1250 BC. The oldest examples are found inscribed on oracle bones such as turtle shells and animal scapulae. These characters were scratched into the surface to ask a question‚ and heating the oracle bones until cracks formed would supply an answer.  Diet‚ Clothing‚ and Cultural Practices The mainstay of their diet was rice with vegetables‚ supplemented with eggs and fish. Cooking was done in dings‚ three-legged metal pots that sat over a fire and allowed food to cook slowly all day while families worked out in the fields.  Tea did not become a common part of Chinese food culture until around 100 BC. Hemp clothing was common by this point‚ and the very highest members of the nobility wore silk. Women wore ankle-length dresses tied at the waist‚ and men typically wore tunics down to their knees. Padded hemp jackets were added in the winter.  Animal images‚ usually tigers and sometimes snakes or toads‚ were embroidered onto clothing for decorative and protective purposes.  Hair was worn long‚ usually tied up but never cut (as doing so was considered to be disrespectful towards one’s ancestors).  The practice of foot binding began three thousand years ago. It originated amongst the upper classes and eventually became commonplace for all Chinese women. The feet of small girls were bound so tightly that their toes grew curled beneath the rest of their feet.  Ancient paintings show women crawling in the rice paddies to do their work because it was so painful to walk on their deformed toes. The practice was finally outlawed in 1911 CE.The post Daily life in Ancient China Through the Bronze Age first appeared on History Defined.

When most people hear the name “Liberace‚” certain images come to mind. Perhaps the image of a flamboyantly dressed man in a sequined cape. He would be seated at a rhinestone-studded Grand piano playing an almost schizophrenic combination of Classical‚ Pop‚ and Show Tunes.  A man whose garish appearance easily calls into question his standing as a serious‚ Classical pianist.   Liberace was not only a highly accomplished Classical performer prior to turning his talents to the entertainment business. But he was also one of only a handful of concert pianists who could perform dozens of complicated Classical pieces from memory alone.  His musical tastes and aspirations‚ however‚ ran far beyond the limitations of Classical music. Liberace in 1983 Born to Destiny He was born WÅ‚adziu Valentino Liberace on May 16‚ 1919‚ in West Allis‚ Wisconsin. His parents were Salvatore Liberace (an immigrant from the Lazio region of central Italy)‚ and Frances Zuchowski (a woman of Polish descent) from Menasha‚ Wisconsin.  Liberace was an identical twin whose brother died at birth.  He had three surviving siblings: an older brother George (a violinist)‚ a sister Angelina‚ and a younger brother Rudolph Valentino Liberace. Both Liberace and his youngest brother were named after the famed actor “Rudolph Valentino.” His mother was an ardent fan of silent films. According to multiple accounts‚ Liberace was born with a cowl (caul) covering his head and face. This is a piece of birth membrane said to predict greatness. As observers of old-world superstitions‚ Liberace’s parents likely assumed it was divine providence that their son would become famous.  American pianist Liberace with teddy bear at the age of 3. (ca. 1922) Both parents had a background in music. Liberace’s father was a French horn player who performed with the Philadelphia Symphony and John Philip Sousa`s concert band. His mother was a former concert pianist of some renown. It was Salvatore who encouraged his family to music careers. Frances believed music lessons (and even a phonograph) were extravagances‚ considering the state of the economy. But Salvatore’s love of music won out‚ ultimately inspiring Liberace to create a family musical legacy.  Education By the age of four‚ Liberace demonstrated not only a talent for the piano‚ but for memorizing complicated pieces of music. He was soon recognized as a child prodigy. It was decided that he would forego traditional education in favor of musical training. At age seven he began the formal study of music at the Wisconsin Conservatory of Music in Milwaukee.  As a boy‚ Liberace suffered from a speech impediment that made him the target of teasing from neighborhood children. By his teens‚ he had developed effeminate mannerisms that drew mockery. This‚ however‚ only made Liberace’s resolve to become a master pianist even stronger.  In addition to ongoing piano lessons with music teacher Florence Kelly (who contributed to Liberace’s musical development for 10 years)‚ Liberace gained his first experience performing publicly. He started playing popular music in theaters (accompanying films)‚ on local radio‚ for dance classes‚ clubs‚ and weddings. Having discovered the music of famed Polish pianist Ignacy Jan Paderewski‚ Liberace set out to master the virtuoso’s technique.  Ignacy Jan Paderewski‚ 1930s In that his father considered exposure to live performances as important as formal training‚ Salvatore took his children to concerts whenever possible. One such concert resulted in Liberace meeting Paderewski backstage at the Pabst Theater in Milwaukee.  Of that encounter‚ Liberace would later say‚ “I was intoxicated by the joy I got from the great virtuoso’s playing. My dreams were filled with fantasies of following his footsteps . . . . Inspired and fired with ambition‚ I began to practice with a fervor that made my previous interest in the piano look like neglect!”  Impressed with the young Liberace’s natural aptitude for music‚ Paderewski became the boy’s mentor—as well as a close family friend.  A Budding Career In 1934‚ at the age of 15‚ Liberace began playing jazz piano with a group of school-age kids called The Mixers. And later‚ with other local groups who performed in cabarets and strip clubs.  Though his father and mother disapproved of that environment‚ it was the time of the Great Depression. And their son was contributing to the family income. For a time‚ Liberace adopted the stage name‚ “Walter Busterkeys.” Even at this early stage of his career‚ he started showing a flair for fashion and bold attire to draw attention. In 1937‚ Liberace competed in a formal Classical music competition. He was praised for his “flair and showmanship.”  Two years later‚ after a traditional Classical concert held at La Crosse Concert Hall‚ Liberace played his first requested encore. He chose the popular comedy song‚ “Three Little Fishies‚” a song he played in the styles of several different Classical composers—to an audience ovation. On January 15‚ 1940‚ the 20-year-old Liberace played with the Chicago Symphony Orchestra at Pabst Theater in Milwaukee. This was where‚ ten years earlier‚ he’d watched famed Polish pianist Ignacy Jan Paderewski play. He performed Liszt’s Second Piano Concerto‚ for which he received outstanding reviews. This led to a tour of the Midwest‚ performing Classical music.   Finding His Groove Beginning in 1942‚ Liberace moved away from straight-forward Classical performance and began incorporating pop music into his act. He started to create the stage persona that would define him for the remainder of his career and personal life. By the mid-to-late-1940s‚ Liberace was performing in nightclubs in major cities across the US. He was becoming less of a Classical pianist and more of an entertainer and showman.  His act had become a whimsical combination of Classical and Pop. He was marrying Chopin with American standards like “Home on the Range‚” for example. For a short time‚ Liberace played piano along with a phonograph on stage. This was a gimmick that helped him gain attention.  By this point‚ his musical performance was different from every other Classically-trained pianist of the time. He did something no other pianist did: he interacted with the audience. He took requests‚ cracked jokes‚ and even singled out audience members to join him on stage for impromptu piano lessons.  As his performances became more of a spectacle‚ he began paying greater attention to staging‚ lighting‚ and overall presentation.  Liberace‚ 1968 Films and Media Attention In 1943‚ Liberace began appearing in “soundies.” These were three-minute musical films spotlighting a single performance‚ like music videos of the 1980s. Recreating two flashy tunes from his nightclub act‚ he performed “Twelfth Street Rag” and “Tiger Rag‚” billing himself as Walter Liberace.  In 1944‚ Liberace made his first of many appearances in Las Vegas. It later became his primary venue.  The following year‚ Liberace made his first appearance at the famed Persian Room. Variety magazine proclaimed‚ “Liberace looks like a cross between [actors] Cary Grant and Robert Alda. He has an effective manner‚ attractive hands which  . . . he spotlights properly‚ and withal‚ rings the bell in the dramatically lighted‚ well-presented‚ showmanly routine.”  Similarly impressed‚ the Chicago Times reported‚ “[He] made like Chopin one minute and then turns on a Chico Marx [of the famed Marx Brothers] bit the next.” A Showman Extraordinaire  By 1945‚ Liberace was making the final visual adjustments to his act. He was adding what would become his piece de resistance.  This would be a candelabrum placed prominently on top of his piano. This was a prop he’d seen used in the Chopin biopic‚ A Song to Remember (the 1945 biographical film about Frédéric Chopin).  This‚ along with a flowing pompadour‚ a smile described as “flashing neon‚” and his buttery sing-song voice‚ brought precisely the attention he was seeking. For better visibility‚ he wore a white tie and tails in large halls. Adopting “Liberace” as his professional name‚ he billed himself as “Liberace—the most amazing piano virtuoso of the present day.”   Although he received continual offers to perform and record as a concert pianist‚ Liberace seemed to prefer the club atmosphere. However‚ he frequently accepted offers to play private parties such as those held by millionaire oilman J. Paul Getty at his Park Avenue apartment. In light of his growing larger-than-life persona‚ Liberace decided to purchase a “priceless piano” to match his boundless talent. This was only the first of several extravagantly expensive pianos. Liberace’s Royal Blue And Gold Steinway Grand Piano (also known as “Dancing Waters” piano) He purchased a rare‚ oversized‚ gold-leafed Blüthner Grand piano. In subsequent years‚ he bedazzled the audience with an array of ostentatious‚ custom-decorated pianos–some encrusted with rhinestones and mirrors.  In 1947‚ Liberace bought a luxurious home in North Hollywood and began performing at local clubs like the world-famous Ciro’s and The Mocambo He performed for film stars such as Rosalind Russell‚ Clark Gable‚ Gloria Swanson‚ and Shirley Temple.  But despite his success in the supper-club circuit (where he was often sandwiched between other acts)‚ Liberace aspired to reach larger audiences as a headliner. He wanted to be a television and movie star.  To help him achieve this goal‚ Liberace assembled a publicity team and began looking for ways to make his shows more spectacular.  The Liberace Show Despite his enthusiasm for television‚ Liberace was greatly disappointed with his early guest appearances. He appeared on The Kate Smith Hour (1950-1954)‚ DuMont’s Cavalcade of Stars with Jackie Gleason (1949-1952)‚ and later‚ The Jackie Gleason Show.  He was particularly disappointed with the amateurish camera work and his short appearance time. He knew that the only way to present himself on television with the same quality as his club performances was to get his own show.  After a short-lived LA-based television show (which was a smash hit‚ locally) and a run as a summer replacement show for The Dinah Shore Show‚ Liberace was given a 15-minute network television program aptly called‚ The Liberace Show. It debuted on July 1‚ 1952. But it didn’t lead to a regular network series. Instead‚ in 1953‚ producer Duke Goldstone produced filmed versions of Liberace’s local shows performed before live audiences for syndication. He sold to scores of local stations.  The widespread exposure of the series made Liberace more popular and prosperous than ever. It earned him $7 million in the first two years. Utilizing the television medium to the fullest‚ Liberace learned early on to cater to the tastes of the audience. He would joke and chat to the camera‚ as if performing in the viewers’ own living rooms.  Liberace performing in 1955 He used dramatic lighting‚ “split image” effects‚ costume changes‚ and exaggerated hand movements. His hands were always studded with large‚ gaudy rings to create visual interest.  His television performances—which featured a broad range of musical selections from the Classics‚ Show Tunes‚ film melodies‚ Latin rhythms‚ ethnic songs‚ and Boogie-Woogie—were always exuberant. They had just the right touch of humor. Liberace’s brother George often appeared as a guest violinist and/or orchestra director. His mother usually sat in the front row of the audience. His brother Rudy and sister Angelina were often mentioned to lend an air of “family.”  Liberace signed off each broadcast softly singing‚ “I’ll Be Seeing You”–which became his theme song.  The show was so popular (with his mostly female television-viewing audience). He drew over 30 million viewers at any given time and received 10‚000 fan letters per week.  He’d become more than a star. He was a Pop phenomenon.  Vegas After The Liberace Show went off the air in 1956‚ Liberace launched a number of successful tours of Europe. But his popularity began to wane in the US. It continued to do so for the next few years. In 1963‚ Liberace returned to Las Vegas‚ becoming the primary performer at The Riviera Hotel. Upping the glitz and glamor‚ he took on the cognomen‚ “Mr. Showmanship.”  He referred to himself as “a one-man Disneyland.” His costumes became more exotic (mink‚ ostrich feathers‚ capes‚ huge diamond rings in the shape of tiny pianos).  One of Liberace’s coats in the Liberace Museum His entrances and exits were more dramatic (he was chauffeured onstage in a Rolls-Royce). His choreography was far more complex (involving chorus girls‚ cars‚ and animals).  Among his guest performers was Barbra Streisand‚ the most notable new adult act he introduced. (Streisand owes much to Liberace for promoting her career.) During the 1970s–1980s‚ Liberace’s live shows remained major box-office attractions at the Las Vegas Hilton and Lake Tahoe‚ where he earned an unprecedented $300‚000 a week. By comparison‚ Elvis was paid a reported $7500 per week in 1956. Elvis and Liberace trading roles in Vegas in 1956. Television Throughout his career‚ Liberace made a number of memorable appearances on popular television shows. These included Edward R. Murrow’s Person to Person (in 1956)‚ The (Tennessee Ernie) Ford Show (in 1959)‚ The Ed Sullivan Show (six times between 1964-1970)‚ The Jack Benny Show (1954 and 1966)‚ and The Red Skelton Show (1964‚ 1968 and 1969). In 1960‚ he received a star on the Hollywood Walk of Fame in recognition of his contributions to the television industry.  During the 1960s and 1970s‚ Liberace made numerous appearances on “hip” television shows. These included Batman (1966)‚ The Monkees (1967)‚ and Rowan &; Martin’s Laugh-In (1968). It also included Here’s Lucy (1970)‚ Kojak (1978)‚ and The Muppet Show (1978). On these‚ he performed renditions of “Concerto for the Birds‚” “Misty‚” “Five Foot Two‚” and “Chopsticks.”  In 1978-1979‚ television specials were produced from Liberace’s live shows at the Las Vegas Hilton‚ which were broadcast on CBS. Still remarkably popular in the 1980s‚ Liberace guest-starred on the phenomenally popular Saturday Night Live. He also appeared in the 1984 film Special People.  This was based on the true story of Diane Dupuy‚ who created a unique theater company called Famous PEOPLE Players. It consisted of developmentally challenged individuals. In 1985‚ he appeared on the debut episode of Wrestle Mania‚ as the guest timekeeper for the main event. Films He was never truly interested in becoming a recording artist. But the popularity that developed from Liberace’s syndicated television show created a clamor for his live performances to be made available on record.  To satisfy his fans’ demands‚ Liberace recorded nearly 70 discs (albums and singles) between 1947 and 1954.  Several recordings were released through Columbia Records including the album‚ Liberace by Candlelight. It sold over 400‚000 copies by 1954. His most popular all-time single‚ “Ave Maria‚” sold over 300‚000 copies. The End of a Brilliant Career In August of 1985‚ Liberace was secretly diagnosed as HIV positive by his private physician in Las Vegas. Aside from Seymour Heller‚ his long-time manager‚ and a few family members and associates‚ Liberace kept his terminal illness a secret.  He never sought a cure.  In August of 1986‚ during one of his last interviews‚ on Good Morning America‚ Liberace alluded to his failing health. He remarked‚ “How can you enjoy life if you don’t have your health?”  Liberace smoking in a London rehearsal room‚ 1968 Liberace’s final stage performance was at New York City’s Radio City Music Hall on November 2‚ 1986. It was his 18th show of a 21-day tour. (The concert series grossed over $2.5 million for Liberace’s estate).  Liberace’s final television appearance took place on Christmas Day of that same year‚ on The Oprah Winfrey Show (which had actually been videotaped in Chicago a month earlier). From January 23-27‚ 1987‚ Liberace was hospitalized for pneumonia at Palm Springs County Hospital. On the morning of February 4‚ 1987‚ Liberace died at his Palm Springs‚ California estate‚ at the age of 67. (His last meal‚ reportedly‚ was a bowl of Cream of Wheat.)  The Riverside County coroner determined that Liberace’s cause of death was cytomegalovirus pneumonia. This was a frequent cause of death in people with AIDS. (Of note: Cary James Wyman‚ Liberace’s personal assistant and alleged lover of seven years‚ died of HIV complications in May of 1997‚ at the age of 34.)  References britannica.com.‚ “Liberace‚” Liberace | Virtuoso‚ Entertainer‚ Showman | Britannica  biography.com.‚ “Liberace‚” Liberace – Movie‚ Piano &; Death (biography.com)  theguardian.com.‚ “Liberace: the 10 things you need to know‚” https://www.theguardian.com/music/musicblog/2013/jun/07/liberace-10-things-to-know Pyron‚ Darden Asbury‚ Liberace: An American Boy‚ https://archive.org/details/liberaceamerican00pyro barbara-archives.info.‚ “The Riviera Hotel (1963)‚” https://www.barbra-archives.info/riviera-hotel-las-vegas-1963-liberace  chicagotribune.com.‚ “LIBERACE‚ 67‚ PIANIST TURNED ONE-MAN MUSICAL CIRCUS‚” LIBERACE‚ 67‚ PIANIST TURNED ONE-MAN MUSICAL CIRCUS` (chicagotribune.com)  Lamb‚ Bill. “Biography of Liberace‚” ThoughtCo‚ Aug. 18‚ 2021‚ thoughtco.com/liberace-biography-4151847. reviewjournal.com.‚ “Walter Liberace‚” https://www.reviewjournal.com/news/walter-liberace/The post Liberace: The Virtuoso Behind the Glitz and Glamour first appeared on History Defined.

The universal relationship between religion and the use of mind-altering drugs is‚ of course‚ well documented in oral history. There is also plenty of physical evidence.   According to J. M. Allegro‚ author of The Scared Mushroom and the Cross‚ the Judeo-Christian belief system was heavily influenced by altered states of consciousness. This was produced through the use of hallucinogens such as the Amanita muscaria mushroom.  Similarly‚ in his book Soma: Divine Mushroom of Immortality‚ scholar R. G. Wasson contends that the ancient Indo-Aryans (Indo-Iranian-speaking pastoralists who migrated from Central Asia into South Asia) ingested soma.  He believes that this is the Amanita muscaria mushroom and that they ingested it during the writing of their most significant religious text‚ the Rig Vedat.  Additionally‚ an article written by researcher Jennifer Majchrzak titled “Peyote and Native American Culture‚” explains the ritualistic use of peyote. It was used by members of the Native American Church. This is now the most widespread indigenous religion among Native Americans in the US.  Thus‚ with so many examples of hallucinogens being used to reach higher levels of consciousness‚ is it really so far-fetched that Joseph Smith used psychedelics in his quest for divinity? And that he founded his church on drug-induced visions?  Painting of Joseph Smith by an unknown painter‚ circa 1842.  Early Life Joseph Smith‚ Jr.‚ was born on December 23‚ 1805‚ to a poor and what was considered “religiously unconventional” Vermont family. His father‚ Joseph Sr.‚ is said to have believed in magic. He was a follower of Universalist theology. They believed in a personal god and savior. They also believed in the Universalist doctrine that the atonement of Christ is sufficient to redeem all men. His mother‚ Lucy‚ practiced Christian “Primitivistism.” This is the belief that a purer form of Christianity should be restored using the early Church as a model.   One of ten children (possibly 11)‚ Smith contracted a crippling bone infection at the age of eight. This forced him to rely on crutches into his teens. After struggling for several years to make ends meet as a farmer and merchant‚ in 1816‚ Smith’s father moved his family to western New York. They moved near Palmyra‚ where he accepted whatever work he could find. They were also farming land rented on credit. The family ultimately lost their plot of land but continued to live there and farm it as tenants until 1831. Despite his physical limitations‚ Smith worked the fields with his father and brothers. He also participated in many money-making endeavors with the senior Joseph. Between his field-hand duties and physical limitations‚ it appears that Smith received no formal education. VisionsThe post Mormonism: Did Joseph Smith Found His Church on Drug-Induced Visions? first appeared on History Defined.