The fixation on the One, and the obsession with a Virus; the Individual vs. the Collective Trance

by Jon Rappoport

October 4, 2021

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More than anything, this piece reflects my approach to my work. My work as a reporter, as a poet, as an individual.

When I wrote my first book in 1988, AIDS INC., I showed that HIV was not the cause of AIDS. In fact, there was no AIDS. That was a label slapped on a variety of health problems all stemming from lowered immunity.

These health problems were caused by a variety of factors, none of which had anything to do with “the virus.”

The major resistance to the book came from people who were conditioned to believe that every announced new disease had to be real, and every new disease had to have a single cause. I would call this ill-fated belief informational Hypnosis.

It’s very effective.

Look at the history of organized religion. Each Church has its single First Cause. Meaning God. “Our God is real. Yours isn’t.” “Our God is the One.”

Behind this farce is each organization telling individuals, “We have God. He is the One you should worship. Don’t go off on your own and find your own God. That doesn’t work.”

People are fixated on The One. The one God. The one Cause. The one Virus. And because they are fixated, leaders can sell them this One and that One and the other One.

In 1988, I saw the full absurdity of that con, with HIV.

During the decade following the publication of AIDS INC., I discovered that no one had proved HIV existed. There was no reason to believe it did. After all, you could say a man with purple hair and six arms lives on the moon, but then you carry the burden of proof, and if you can’t supply any, your hypothesis is null and void.

So the fixation on the One extends to the One that doesn’t exist at all.

At that point in my work, I could see I was plunging headlong into territory that was going to place me outside any semblance of the mainstream or even an acceptable alternative universe.

Why? Again, because people were fixated on the One, and I was calling that fixation Mind Control.

In a similar vein, in my work as a reporter, I was using up-against-wall logic to refute medical and political lies and cover stories. But then, when I was writing poetry, I was abandoning the traditional forms and thought processes (the “logic” of poetry) because they were stale and decaying. I wanted to take imagination to other places, without limit, and if the preferred hidebound internal connections in my poems were missing, so what?

This distinction between my work as a reporter and a poet confuses some people. They want one or the other. Not both, side by side. But I say this confusion is good. It can be productive. It can stimulate readers to think along new tracks.

I’m not obeying some arbitrary external standard that describes what I’m supposed to do. Whenever I sense I’m giving in to that standard, when I feel The Mechanical setting in, I stop. I stop and put myself back in the basic bath of WHAT DO I REALLY WANT TO DO? Answering that question sets me back on track(s).

A long time ago I figured out something. If I went along with the tide and tried to carve out a career as a conventional writer, I might succeed or I might fail. If I failed, it would be a double disaster, because I had failed at something I really didn’t want to do in the first place. If I failed to find an audience by writing what I wanted to write, I would have DONE WHAT I WANTED TO DO. I WOULD HAVE CREATED WHAT I WANTED TO CREATE.

Centralized authority wants to build a collective trance in which people believe they must think and do what falls inside certain boundaries.

Nowhere is this more evident, these days, than in the promoted idea that a virus is loose in the world. The one virus causing the one disease. In many articles, I’ve taken apart the myth of SARS-CoV-2 and disposed of it. In the process, I’ve discovered that the whole branch of medicine called Virology is a hustle and a broken down Church of true believers, who can’t and won’t shake off their delusions.

Once again, I’ve come to grips with people who are so hardwired in their trance they can only bray, “People are dying, it must be the (one) virus.” The logic of that proposition belongs in a garbage dumpster in a blind alley at midnight.

It’s right next door to, “They diagnosed Harry with COVID, he had shortness of breath, so they put him on a ventilator and sedated him with a drug that radically suppresses breathing and left him on the ventilator and he died because of the virus.”

In the realm of propaganda, willing victims select their preferred one idol. For example, Tony Fauci. His adoring worshippers need The One, so they choose him because he’s there on television, being interviewed by “the best people,” and he has a seal of approval from the White House, and he disagreed with Trump. This is called “following the science.” I would call it trailing behind a horse’s ass.

Over the decades, I’ve encountered many artists who stand for the widest freedom of expression and yet, when it comes to politics, they insist on absolute loyalty to the “prevailing culture.” Meaning the Left. I’ve also seen political libertarians who insist on freedom of thought, but believe all art since the 16th century is a perverse plot against “traditional values.”

At the bottom of these contradictions is, again, a fixation on The One. The one political point of view, the one acceptable art, the one acceptable Church…

And now we’re all dealing with the one tyranny that spells out “the one solution to the one virus.” And this tyranny is bent on subjugating many nations and imposing one government for one planet.

On every level, from the political to the psychological to the spiritual to the creative, THE ONE has always been the conditioned mind control reflex that imprisons the individual.

I’m against it. Always have been. Always will be.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

Biden’s vaccinate mandate: open letter to governors who want to fight back

—Governors Abbott, Ducey, Noem, DeSantis, Kemp, McMaster, Ivey, Dunleavy, Hutchinson, Little, Reynolds, Reeves, Parson, Gianforte, Ricketts, Burgum, Stitt, Lee, Cox, Gordon, Holcomb, DeWine, Sununu, have already expressed opposition to the mandate

However, most of these politicians are weak, compromised, or just grandstanding. I want to find ONE who will go the distance in resisting the mandate. ONE who will rally all the people who are awake and can see the tyranny we’re facing

by Jon Rappoport

September 13, 2021

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First, an important note to the reader: In the coming days, weeks, and months, you’re going to hear many people saying the Biden vaccine mandate is unconstitutional and illegal. I agree. But that doesn’t mean this argument will fly in court. It certainly doesn’t mean this is the only road to pursue against the mandate. Do not be fooled into sitting back and blithely thinking legal arguments will win the day.

A lawyer or a politician saying there is a good legal case to be made is a far cry from actually filing the case. Filing a case is a far cry from obtaining an approval for the case to be tried in court. A court trial is a far cry from securing the ability to present all the relevant evidence to a judge. Presenting all the evidence to a judge is a far cry from gaining a victory. A victory often means the enemy appeals to higher courts. And one must always suspect judges are incompetent, fearful of siding with the truth, or bought-off…


Governors:

The Biden edict forces employers across America to mandate the vaccine to their employees.

Many of you immediately responded, saying or implying you’re going to court, to challenge the legality of the mandate.

Fine. Go ahead. Yes. But you know and I know this approach is not nearly enough. Regardless of the Law, there is reason to doubt a successful outcome for you and the people of your state in a lawsuit against the federal government. That’s the reality on the ground. Putting all your eggs in that basket would be a major mistake. DO NOT PUT ALL YOUR EGGS IN THAT BASKET.

Doing so would signal that you’re not completely serious about standing up against the vaccine mandate. It would signal you’re taking the easier way out.

You can go to court, but you also have to take a different and more severe approach. Otherwise, you fail. And you fail the people of your state.

You have to say: I’M NOT GOING TO ENFORCE THE FEDERAL VACCINE MANDATE IN MY STATE. THERE IS NO WAY THIS STATE GOVERNMENT IS GOING TO COMPLY.

You need to use your bully pulpit and hammer home this message to the people EVERY SINGLE DAY. I mean that literally. Every day.

No matter what courts decide at your state level or the federal level, no matter what tyrannical laws your state legislature enacts, over your veto, you WILL NOT ENFORCE THE FEDERAL VACCINE MANDATE.

If you’re really serious, and not just pretending to be, that is what you have to say.

No matter what.

You have to speak to the people of your state every day, bluntly and forcefully, and gain their trust and their support. In order to keep your state open and free.

What will be the consequences of your actions?

Will the federal government send in the FBI to arrest you? Or troops to arrest you, to put the state under federal martial law?

Does the federal government really want to do that? Will that really aid their cause? Think it through. If the federal government dares to invade your state, in any fashion, their actions will backfire. The people of this country will see the true face of the federal government tyranny.

We’re in an extreme crisis here. Your solution has to go the distance. It can’t be a symbolic gesture. It can’t only be, “The Constitution is on our side.” That’s a true statement, but it’s not enough.

You have to come to know that. Quickly.

A medical-fronting dictatorship has taken over America.

Your path is clear:

“I WILL NOT ENFORCE THE FEDERAL VACCINE MANDATE IN THIS STATE. THIS STATE GOVERNMENT WILL NOT ENFORCE IT, NO MATTER WHAT. LET THE FEDERAL GOVERNMENT TRY TO ENFORCE IT. THIS STATE IS FREE.”


Now, Governors, let’s get down to a few details.

How does the federal government plan to enforce this vaccine mandate? In other words, how will they collect the fines they impose on employers who refuse to order their employees to get vaccinated?

Ultimately, if employers won’t hand over the fines, it’s obvious the feds will eventually go into the employers’ company bank accounts and extract those fines. In the same way the IRS can collect supposedly delinquent taxes or garnish wages, when it decides it’s necessary, the federal government will set up a mechanism to grab the fines.

This means the federal government can ignore you, the Governors, and lay their hands on the money.

Therefore, the crisis deepens.

Nevertheless, you must continue to use your bully pulpit as I’ve described above. You’re voicing an idea to the people of your state: RESIST. DON’T COMPLY. STAY FREE. This is your job. This is not like selling shoes or mattresses. You’re communicating the best and greatest political principle ever devised. FREEDOM.

The results of your ceaseless campaign? Some people will be inspired and rally to your side. Others won’t. The results will be uneven and unpredictable. No one can guarantee an ultimate outcome.

You’re essentially promoting civil disobedience, to use the polite term. You’re promoting LIBERTY and RESISTANCE. We’re in a new 1776.

If you pull your punches, if you bloviate on and on about going to court, if that becomes your main message, you will lose, and the people of your state will lose.

“THESE are the times that try men’s souls. The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country; but he that stands by it now, deserves the love and thanks of man and woman.”

Thomas Paine’s words ring true again. You must exemplify them and serve our country.

You must find the passion within yourselves to rally the people to your side and the side of freedom.

NOW.

Will ONE of you go all the way?


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


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 ignited a firestorm on social media”

by Jon Rappoport

September 8, 2021

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PART ONE: THE NEW INTELLECTUALS

Welcome to the show. I’m your host, YouGluer the Magnificent. My guest today calls himself Brad Douchebag. Brad has 1.3 million Twitter followers. So Brad, what’s your secret to success?

Thanks for having me. I scour the web for comments advocating individual freedom of any kind, and I scream against those comments on Twitter. Then my followers pile on with me and create a firestorm.

I see. I’m told you’ve made quite a name for yourself in academic circles.

Harvard offered me a teaching position in their Department of Social Sciences and Data Analysis. I had to turn it down.

Why?

I’ve parlayed my social media presence into a business. I sell cheap Chinese masks online. Managing a business requires a great deal of time and energy. Frankly, Harvard’s offer was an insult. 150K a year…

PART TWO: APOLOGIZE OR STARVE

Joe works for a major corporation. He’s an animal rights advocate.

One day, on his personal Twitter account, he posts the following: “What they do to animals in labs is sheer torture. The lab-thugs poison them to discover a precise dose that kills…”

Social media mavens pick up on this comment. For example: “Joe’s juxtaposition of ANIMALS and THUGS is thinly veiled RACISM. We all know what he really means.”

Two weeks later, the HR person in Joe’s company calls him in. “You’re under attack, Joe. You’re going to have to apologize. Profusely.”

“Nonsense,” Joe says. “I did nothing wrong. People are twisting my words.”

“We know that, Joe. But it doesn’t matter. The company doesn’t care about what you posted. We care about the reaction. Somebody is going to discover you work here. And then they’re going to come after us.”

“Then you tell them my comments weren’t hurtful.”

“It doesn’t work that way, Joe. You have to grovel, or we’ll fire you. You’ll be out in the street. No major company will hire you. You have to apologize, enroll in one of our re-education classes, and sit down with an anti-racist group. We have a list of those groups. You apologize to them—“

“But I’m not a racist.”

“It doesn’t matter now. It only matters what people are saying. Think of your family, Joe. What are THEY going to say when you’re out of work, when you could have saved your job, but didn’t? Do you think you’ll have their sympathy after you flushed 200K a year down the toilet?”

“…This is more serious than I imagined.”

“You bet your ass it is.”

“I’m going to have to become a different person.”

“Now you’re talking.”

“What kind of person will that be?”

“Someone humble, Joe, who seeks forgiveness, who made a serious mistake, who will do everything in his power to atone for his sins. You now realize the pain you’ve caused others.”

“Should I cry?”

“That would be good.”

“I took a drama course in college.”

“Put it to use.”

“What about self-flagellation on camera?”

“With a whip? That would be going too far. People would think you’re crazy. Keep it along the line of, you’re sorry, you’re devastated, and by atoning you hope to set an example for others.”

“Yes, that’s good.”

“We have PR people, Joe. They’ll work with you. They’ll help you craft your new messages, your new persona.”

“I’ll be like a reformed criminal who got religion.”

“Yes. Think of yourself as a prisoner who’s seeking early parole. You’ll do whatever it takes.”

“All right—you pass.”

“Excuse me? What?”

“You pass. My name isn’t Joe. I’m with the Justice Department. In a few weeks, I’m going to resign from my job here with you people and disappear. My unit moves from corporation to corporation, making sure their key people are on board with preferred social trends.

“That’s—I don’t believe you, Joe.”

“I’d advise you to believe me. I really would. I’m not the only DOJ employee on board with your company. We keep an eye on things.”

“No.”

“Yes. We’re in the middle of a vast social experiment. Our goal is changing attitudes. We’re tightening the control system. You’re with us, or you’re against us. ALL humans are wild ANIMALS, biological machines that are mis-programmed from birth. We’re doing the re-programming. We need major corporations like yours to partner with us. Declare vaccine mandates, enforce correct social behavior, and so on. If, for any reason, you decided to oppose what we’re doing, YOU would find yourself out in the street without a job. The resentment of your family would be visited on YOU. YOUR friends would shun you. Am I getting through?”

“…you are. Yes.”

“Good. You’re OK, Bob. You earn a pass. So far. Stay on the straight and narrow.”

“I’m amazed.”

“That’s a normal reaction. It’s a new world.”

“I’ll say. So you have my balls in a box.”

“We do.”

“I’m not sure I like that, Joe.”

“How much you don’t like it is part of the social experiment, too. We want to know how far we can push people.”

“Before what?”

“Before they rebel in great numbers. That’s the ultimate question, isn’t it? When do they stop giving away their freedom for what they think is security?”

“When? How about never?”

“Good. We need people like you. We build our palaces on your backs.”

“Because we’re passive.”

“Bingo.”


And while I’m at it, here is a somewhat related piece, WHEN THE MACHINE-MIND DIED:

From time to time in these pages, I write satire, fiction, even poetry.

Why?

Because I’m a writer.

I’ve been working at it for 60 years. As a writer, I have more than one interest. I lay out what I see along a number of different avenues. I also, God forgive me, employ Imagination—which I know is considered a major crime in some quarters.

HOWEVER, I always make a distinction between fiction and factual articles. How? The CONTENT of the piece clarifies that distinction.

But sometimes…well, for example…

I once wrote a piece about 150 MILLION Americans traveling to Mexico and then coming back across the border as immigrants and going on welfare—and some people believed I was reporting a news story. On top of that, they got up on their hind legs and brayed: “It isn’t true!”

Drugs? Brain damage? The education system?

So…here’s a story about THAT—

DATELINE, JULY 18, 2097: You of course remember the Alice in Wonderland War. Way back in 2056, a government bureaucrat brought suit against Midas Publishing for reprinting the ancient Lewis Carroll novel.

The bureaucrat stated there was no Alice, there was no Mad Hatter. He claimed that to assert the existence of these characters was an affront to the literal mind.

The literal mind, he insisted, was man’s highest achievement. He wrote: “A is A, and can’t be otherwise. The fabrication of A as B or C is an attempt to confuse, subvert, and destroy.”

“In order for universal surveillance to succeed, the citizenry should say what they mean at all times. Metaphor, simile, joke, satire, parody—these constructions confuse algorithms established to detect potential terrorist activity.”

The attorney for Midas Publishing countered with: “The literal mind is an idiot. It wouldn’t recognize a joke or a punchline if they were shoved down its throat. I hereby issue a call to all people everywhere to start lying, fabricating, telling jokes, all day, every day. Stop acting like good little androids!”

Suddenly, it happened. People started enjoying themselves. The joke and the parody and mockery made a comeback. Did they ever. And NSA’s computers went crazy, exactly the way the literal mind collapses in the face of metaphor.

It was, ultimately, a revolution, and enslaved life went right down the dumpster.

Along with the Alice-in-Wonderland War, we all recall another famous turning point in our history—the 2061 Lenny Bruce case. Lenny, a volunteer in a Technocratic SINGULARITY experiment, was hooked up, brain to brain, with the Kurzweil super-computer at MIT, in the first public demonstration of Enhanced Human, a government-funded program.

The assumption was, Lenny would suddenly become a god. The super-computer would load trillions and trillions of pieces of knowledge into his brain, and he would experience an unprecedented expansion of consciousness.

But just before the computer-connection was made, Lenny uttered, “Suppose everything I’m thinking is a series of jokes? Suppose I don’t really mean what I think in a literal sense? Suppose when I think A I’m really meaning Z?”

The experiment was halted at that point and Lenny was arrested by the FBI. He was put on trial for conspiracy to commit an act of terrorism, because, obviously, the whole technocratic premise would fail along all systems of computer-to-brain interaction, if other people took Lenny’s hint.

The bill of particulars against Lenny read, “A violation of the literal…an act of domestic insurrection.”

And then, a hundred thousand Americans rioted at the Federal Court Building and freed Lenny. Remember?

That’s when the machine-mind died…

—And that, dear reader, concludes today’s episode of, “The Overreaching Obsession for The Literal,” brought to you by the Anti-Algorithm Foundation, dedicated to finding honest work for data analysts: repairing sewers, cracked sidewalks, and broken furniture.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

The Individual vs. the digital platform; the global rebellion vs. the machine

Washing away the stink of obedience

by Jon Rappoport

September 8, 2021

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Using fascist vaccine mandates and passports, governments are expanding their digital platform, which is a surveillance and control system.

The excuse is: “We have to keep track of everyone who receives the vaccine…we have to make sure they update their booster shots…we have to know the people who are refusing the vaccine… ”

Of course, the platform reaches out into, and collects, all sorts of personal information about every person. Medical records, social media presence, consumer habits, political preferences, etc.

Underlying this massive and ongoing effort is the assumption that The Individual is a social construct. A unit. An assemblage of data.

This unit is entered into algorithms governing millions of units.

Thus, the living individual disappears. He is now an abstraction.

The repressive State takes on the shape of a technocracy:

“We regulate what units (humans) can and can’t do. We fit these units into an overall pattern of enforced behavior that achieves the greatest good for all…”

It turns out that many people, badly educated, trained to think of themselves as eternal victims, and resentful toward Constitutional liberties, are content to be plugged into systems that track them and tell them what to do.

These are the people who are always thinking about what other people are thinking of them. They are the foot soldiers of the Great Reset.

On the other hand, The Individual who knows he is alive, independent, and far more than a biological machine, who wants freedom…that Individual has a vision of his existence that outstrips any platform, algorithm, or fetid version of “greatest good.”

That Individual is who I write for.

I don’t write for ant colonies of the 21st century.

In 1928, the father of modern propanda, Edward Bernays, stated: “This is an age of mass production. In the mass production of materials a broad technique has been developed and applied to their distribution. In this age, too, there must be a technique for the mass distribution of ideas…The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country. We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organized. Vast numbers of human beings must cooperate in this manner if they are to live together as a smoothly functioning society.”

For Bernays, and his political descendants, “smoothly functioning society” has meant mass mind control.

Indeed, Bernays also wrote: “It is sometimes possible to change the attitudes of millions but impossible to change the attitude of one man.”

The one man is the disrupter of the machinery.

The vaccine mandates and the passports are a large jump in the direction of mass/group surrender.

In this expanding technocracy, it’s no accident that the main component of propaganda is “science.” Technocracy itself is based on the misapplied “scientific” notion that, since a properly functioning machine is composed of many connected and integrated parts, human society should be built in the same fashion.

COVID “science” is a structure made up of interconnected facts—all of which turn out to be gross lies. I’ve spent the past year exposing those lies (see here and here for boil downs).

The best propaganda appears to be true to those who can’t think, who can’t summon up the desire and will to break out of the system.

The life-force inside every person, whether he knows it or not, wants to break out.

Rock-bottom materialists, who try to deny this force exists, will sooner or later succumb to some piece of propaganda and surrender to The Group.

In these times, The Group wants a digital platform to control their actions. The Group wants to submit to authorities who claim to have altruistic motives. The Group wants to fight for the right to be slaves.

However, as the vise tightens on the population, more and more individuals are realizing the mass and the group and collective and the digital platform and the prevailing propaganda narrative are spelling doom for them. They made a mistake in joining up and surrendering.

The altruism they’ve been supporting is a fake.

Their false gods have gone too far.

Before they slip into the final Big Sleep, more and more Individuals are stirring and waking up.

Their mind shackles are loosening.

More and more Individuals are realizing the talking news heads and the governors and presidents and prime ministers and premiers are puppets. The governments and bureaucracies are Police States. The promised new day is really a long night.

And so comes the rebellion. It is widening.

There is now a clear choice. Be a free and independent Individual, or be a loser, an ally of inhuman technocracy and tyranny.

History.com: “’These are the times that try men’s souls; the summer soldier and the sunshine patriot will, in this crisis, shrink from the service of his country; but he that stands it now, deserves the love and thanks of man and woman. Tyranny, like hell, is not easily conquered; yet we have this consolation with us, that the harder the conflict, the more glorious the triumph’.”

“When these phrases [written by Thomas Paine] appeared in the pages of the Pennsylvania Journal for the first time, General George Washington’s troops were encamped at McKonkey’s Ferry on the Delaware River opposite Trenton, New Jersey. In August, they had suffered humiliating defeats and lost New York City to British troops. Between September and December, 11,000 American volunteers gave up the fight and returned to their families. General Washington could foresee the destiny of a rebellion without an army if the rest of his men returned home when their service contracts expired on December 31. He knew that without an upswing in morale and a significant victory, the American Revolution would come to a swift and humiliating end.”

“Thomas Paine was similarly astute. His Common Sense was the clarion call that began the revolution. As Washington’s troops retreated from New York through New Jersey, Paine again rose to the challenge of literary warfare. With American Crisis, he delivered the words that would salvage the revolution.”

“Washington commanded that the freshly printed pamphlet be read aloud to his dispirited men; the rousing prose had its intended effect. Reciting Paine’s impassioned words, the beleaguered troops mustered their remaining hopes for victory and crossed the icy Delaware River to defeat hung-over Hessians on Christmas night and on January 2, the British army’s best general, Earl Cornwallis, at the Battle of Princeton. With victory in New Jersey, Washington won not only two battles, but also the love and thanks of man and woman.”


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

Covid madness and mass conformity vs. the Life Force

by Jon Rappoport

August 26, 2021

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The basic human immune system is HEALTH. VITAL LIFE FORCE.

It ISN’T a germ-killing antibody-marching military machine inside the body.

However, since modern society is based on a massive attempt to install Pavlovian stimulus-response as the basic principle for “better living,” professionals are going to view Health as a machine-produced outcome.

The antibodies march and scout, the T-cell troops come in behind them and attack the invader, and so on. This preposterous bullshit becomes a model of life.

And therefore doctors and public health experts are the messiahs who protect us every day from harm caused by the invaders (viruses). This load of gibberish forms the basis for the fake pandemic and the robot responses of the population.

LIFE-FORCE, on the other hand, is a unique drive within the individual to express vitality and energy and imagination in the world. When it flows, health flows.

Conformity is the “we’re all in this together” lullaby for the mesmerized masses sitting in a decaying common pool of mind control. For five minutes it looks like a superhighway and then you’re in a blind alley at midnight up against a brick wall.

Who is this WE? What is the THIS in which we’re all together? Answer: The WE is rubber-stamped copies of humans that individuals pretend to be, and the THIS is a vapor of spiritual and energetic sedation.

What is the source of all the systems, protocols, models, and methods that dominate modern life to the point of lockstep surrender? A good place to start is the education system. It’s managed to promote the false belief that, unless everyone goes to school for at least 12 years, whole nations will be composed of rank drooling idiots.

In fact, the education system has a propensity for turning out those drooling idiots.

William Blake, one of the greatest poets of any era in any language, attended school until he was 10. After that, his mother taught him at home.

I’m not sure about this, but I’ve been told God never went to school at all.

It’s impossible to study a child who has been inoculated with 12 or 16 years of education and ask, “What would he be like if he’d never gone to school?” But common sense tells us that, if he had an innate curiosity about life, he would have pursued learning in his own way. He would have learned to read. He would have found books. He would have launched his own imagination in many directions. AND HE WOULD HAVE BECOME STRONG AND INDEPENDENT. He wouldn’t have become a trained weasel.

Highly organized civilization makes us think there are only so many paths in life, and we must choose one of them and stay on it. This automatically shrinks our view of Reality. The concept of RADICALLY DIFFERENT LIFE seems impossible.

Nations and people are choking on SAMENESS.

So when a shit-cloud of experts blows in the door and announces there is a pandemic caused by a virus, most of us stand up and salute. Most of those who don’t merely disagree on the fine points. “Do I really need the booster shot, or am I good with two doses of the Pfizer?”

It never occurs to most people that the whole story is pulp fiction flying under the banner of warped and confined “scientific” minds that have been conditioned by years of schooling and training. These expert medical and public health minds have been deadened and walled off from LIFE ITSELF.

I see dead people. I see dead people telling us what to do. I see dead people promoting fear as their only goal. Trapped themselves, they want to trap us.

The elite strategy is in for a penny in for a pound. “Well, OF COURSE the virus exists. So it’s a question of how serious and deadly it is. Now, the official figures suggest it was weakening by June 15th, but then the Variant emerged. That was a game changer. The latest measurements of antibody production against the Delta Variant indicate…” Zzzzz.

The flying edge of a SYSTEM flew by and caught people unaware and dragged them down into the depths of mental surrender to the STORY about the original STORY…

Life is not a protocol.

An imitation of life is a protocol.

Hence, I repost my piece, THE BLOCKBUSTER MOVIE CALLED REALITY:

There is always a certain amount of whining and remorse as one enters the theater to see the movie called Reality.

“Is this a good idea?” “Why did I buy the ticket?”

But you can already feel a merging sensation. The electromagnetic fields humming in the theater, even before the movie starts, are drawing you in.

Your perception of x dimensions is narrowing down to three.

You take your seat. You look at the note you’ve written to yourself, and you read it again:

“Don’t forget where you came from. Don’t forget this is just a movie. Don’t fall asleep. The serial time in the movie is an artifact. The binding feeling of sentimental sympathy is a trance-induction. It’s the glue that holds the movie fixed in your mind.”

“The movie will induce nostalgia for a past that doesn’t exist. Don’t surrender to it.”

“You’re here to find out why the movie has power.”

“You want to undergo the experience without being trapped in it.”

“The content of the movie will distract you from the fact that it is a construct.”

The lights dim.

On the big screen, against a gray background, the large blue word REALITY slowly forms.

Suddenly, you’re looking at a huge pasture filled with flowers. The sky is a shocking blue. You can feel a breeze on your arms and face.

You think, “This is a hypnotic weapon.”

Now, the pasture fades away and you’re standing on an empty city street at night. It’s drizzling. You hear sirens in the distance. A disheveled beggar approaches you and holds out his trembling hand.

He waits, then moves on.

You look at the wet shining pavement and snap your fingers, to change it into a lawn. Nothing happens.

You’re shocked.

You wave your hand at a building. It doesn’t disappear.

Incredible.

You reach into your pocket and feel a wallet. You walk over to a streetlight and open it. There’s your picture on a plastic ID card. Your name is under the picture, followed by a number code. On the reverse side of the card, below a plastic strip, is a thumbprint.

There are other cards in the wallet, and a small amount of paper money. You look at the ID card again. There’s an address.

Though it seems impossible, you remember the address. In your mind’s eye, you see a small cottage at the edge of an industrial town. There’s a pickup parked in the driveway.

It’s your truck. You know it. But how can that be?

You walk toward larger buildings in the distance.

Three men in uniforms turn a corner and come up to you. Behind them emerges a short man in a business suit. He nods at you and holds out his hand.

You know what he wants. You pull out your wallet and give it to him. He looks at the ID card, at you, at the card again.

“You were reported missing,” he says.

“Missing from what?” you say.

“Your home. Your job. What are you doing here? Are you all right?”

“I’m fine,” you say. “I was…taking a short trip. I’m just out for some air.”

“In this part of the city?” he says. “That’s not smart. We’ll take you home. Our car is right over there.”

One car sits on a side street. In large red letters printed on the trunk, the word Concern.

You walk with the men to the car.

Waves you’ve never felt before are emanating from it.

Mentally, you try to back up from them. You feel a haze settle over you.

In the haze dance little creatures.

You look at the short man in the suit. He’s smiling at you.

Suddenly, his smile is transcendent. It’s so reassuring, tears fill your eyes.

You’re thinking, “They built this so I would be lost, and then they found me. I’m supposed to be rescued. I’ve never experienced being rescued before. I never knew what it meant.”

You hear faint music.

It grows louder. As you near the car, you realize you’re listening to a chorus and an orchestra. The rising theme is Victory.

One of the uniformed men opens the car door.

You nod at him.

“My pleasure, sir,” he says.

The music fades away.

The scene shifts.

You’re standing next to the pickup in your driveway alongside your cottage.

You’re home.

Think, you tell yourself. What’s going on?

Now, as you walk into your cottage and instantly remember the rooms and the objects in these rooms, the sensation of Familiarity, slightly out of phase, grows stronger.

You realize you’re supposed to feel tremendous relief. This is what’s expected of you.

It’s expected of everyone. They live with one another through the touchstone of the Familiar. They share it like bread.

They keep coming back to it. The Familiar is a sacrament.

It’s built in. It’s invented through…it’s stamped on every object in this space…

…In order to suggest you’ve been here before. To suggest you belong here.

You see pure space that…

Has been placed here. For you.

And at that moment, there is a small explosion behind your head.

And you’re sitting in the theater again.

The movie is playing on the screen. All around you, in the seats, people are sitting with their eyes closed.

You feel a tap on your shoulder. You turn. It’s an usher.

“Sir,” he says. “Please follow me.”

He leads you up the aisle into the lobby, which is empty.

An office door opens and a young woman steps out. She strides briskly over to you.

“You woke up and came back,” she says. She gives you a tight smile. “So we’re refunding your money. It’s our policy.”

She drops a check in your hand.

“What happened in there?” you say. “What happened?”

She shrugs.

“Only you would know that. You must have done something to interrupt the transmission.”

“And the rest of those people?”

She looks at her watch. “They’re probably into their second year by now. The second year is typically a time of conflict. They rebel. Well, some of them do. They rearrange systems. They replace leaders. They promote new ideals.”

“I had such a strong feeling I’d been there before.”

She smiles. “Apparently it wasn’t strong enough. You’re back here.”

“How do you do it?” you say.

“I’m sorry,” she says. “That’s proprietary information. Did you meet your family?”

“No,” you say. “But I was in a cottage. It was…home.”

She nods.

“If you hadn’t escaped, you would have been subjected to much stronger bioelectric bonding pulses. Do you have a family here?”

You start to answer and realize you don’t know.

She looks into your eyes.

“Go out to the street,” she says. “Walk around. Take a nice long walk for an hour. You’ll reorient. It’ll come back to you.”

“Why do you do it?” you say.

“Do what?”

“Sell this trip.”

“Oh,” she says. “Why does a travel agent book a vacation for a client? We’re in that business.”

You turn toward the exit. The sun is shining outside. People are walking past the doors.

You take a deep breath and leave the theater.

The street is surging with crowds. The noise is thunderous.

You notice you’re carrying a rolled up sheet of paper in your hand.

You open it.

It’s a non-disclosure agreement.

“If you return from your movie experience, you will not reveal or discuss, under penalty of law, anything about its nature, substance, or duration…”

You look at the sheet of paper, make up your mind, and it bursts into flames.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

The Future of the Future

by Jon Rappoport

August 9, 2021

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“An artist who has no imagination is a mechanic.” (Robert Henri)

“Without the playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable.” (Carl Jung)

“What if imagination and art are not frosting at all, but the fountainhead of human experience?” (Rollo May)

“Everything you can imagine is real.” (Pablo Picasso)

“You cannot hear the waterfall if you stand next to it. I paint my jungles in the desert.” (Macedonlo de la Torre)

Face it. For various reasons, the human race is addicted to solving problems, even where problems don’t exist.

But imagination, unchained, would take us into a wholly different arena.

At some point in the future, art will intersect with reality in a way that exceeds any transformation yet seen.

I can’t put a number on the year or the century in which this will occur, but it won’t matter, because when it does happen, something will also happen to time itself…

As a result of art, language will change. A new layer will be added to the way we think and talk, and this layer will impregnate us with new esthetics which are impossible to define or label.

What was mystery becomes fact, but not rationally surrounded fact. It is immediacy of experience. In every second, we are alive. And a new language facilitates that.

For all this to come true, we need, above all, imagination—unchained.

Here is an introduction made by the famous astrologer and philosopher, Dane Rudhyar, before a concert of his music almost 40 years ago:

“Thus you find in my music extended chords which provide a definite sense of spacing between notes, notes which are supposed to be in dissonant relationship. These harmonies can be disturbing at first, but eventually you can learn to realize what is their essential purpose; and this purpose is to stimulate you, to arouse you, to break down crystallization…

“It is that kind of music to which you are subjected tonight. I hope that it will bring to you some sort of a realization of a possibility which perhaps you have not been aware of, or confusedly so, in the past. To really help you to live a more intense, a more creative life — this is the purpose I have always had in music, in other arts, or in my philosophy, astrology — indeed in whatever I have done. It is always an attempt to bring the human person away from the old traditional pattern of a classical, set and definite kind of society, and to lead it to new horizons where the creative factor in what really is man can be seen operating in full and glorious freedom.”

Paul Klee: “To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.”

Klee was intimating that our language could be expanded so that it exceeds the possibility of translation back into prosaic terms.

What we are has the potential to invent art out along an infinite number of roads—and in doing so, we surpass any previous form of language. And when THAT happens, our communication with one another reaches new heights and depths. There is nothing technical or scientific about such a momentous breakthrough.

We tend to place a tremendous emphasis on UNITY in our culture. But the truth is, evolution is taking us in another direction. When this false unity fragments enough, we discover another possibility. The unique character of every individual can be taken to its extreme, and then we arrive at millions of different ways of being artists.

This is the future.

As improbable as it may seem, it has wings.

Magic is nothing more and nothing less than imagination superseding this universe. Magic occurs when imagination takes this reality for a ride.

Which brings us to what I call the Is People. The Is People are dedicated with a fervor to insisting that this Continuum and this consensus reality are inviolable, are the end-all and be-all.

They strive to fit themselves into Is, and this eventually has some interesting negative consequences. These people come to resemble solid matter. They take on the character of matter.

For them, imagination is at least a misdemeanor, if not a felony. It’s a blow to the Is of Is. They tend to view imagination as a form of mental disorder.

Technocrats like to gibber about imagination as if it’s nothing more than just another closed system that hasn’t been mapped yet. But they’re sure it will be, and when that happens, people will apparently give up creating and opt for living in a way that more closely resembles machines.

There are many people who secretly wish they were machines that functioned automatically and without flaws. It’s their wet dream.

Magic eventually comes to the conclusion that imagination creates reality. Any reality. And therefore, one universe, indivisible, is an illusion, a way of trapping Self.

What began as the physical universe, a brilliant work of art, ends up as a psychic straitjacket, a mental ward in which the inmates strive for normalcy. Those who fail at even this are labeled and shunted into a special section of the ward.

But the result of imagination, if pursued and deployed long enough and intensely enough, is:

Consensus reality begins to organize itself around you, rather than you organizing yourself around it.

There are various names and labels used to describe this state of affairs, but none of them catches the sensation of it.

Magic is one of those labels.

What I’m describing here isn’t some snap-of-the-fingers trick of manifestation; it’s a life lived.

The old alchemists were working in this area. They were striving for the transformation of consciousness. In true alchemy, one’s past, one’s experience, one’s conflicts all become fuel for the fire of creating new realities. Taken along certain lines, this is called art.

One universe, one logic, one Continuum, one role in that Continuum, one all-embracing commitment to that role, one avenue of perception, one Is…this is the delusion.

And eventually, the delusion gives birth to a dedication to what “everyone else” thinks and supposes and assumes and accepts. This is slavery.

Freeing one’s self, living through and by imagination, is not a mass movement. It’s a choice taken by one person. It’s a new and unique road for each person.

Societies and civilizations are organized around some concept of the common good. The concept always deteriorates, and this is because it is deployed to lower the ceiling on individual power rather than raise it.

“Be less than you are, then we can all come together in a common cause.”

It’s essentially a doctrine of sacrifice—everyone sacrifices to everyone else, and the result is a coagulated mass of denial of Self.

It is a theme promoted under a number of guises by men who have one thing in mind: control.

It’s a dictatorship of the soul. It has always existed.

Breaking out of it involves reasserting the power of imagination to invent new and novel realities.

Under a variety of names, this is art.

Promoting the image of the artist as a suffering victim is simply one more way to impose the doctrine of sacrifice.

In 1961, when I began writing and painting in earnest, I had a conversation with the extraordinary healer, Richard Jenkins, whom I write about in my book, The Secret Behind Secret Societies. This is my note from that time about what Richard told me:

“Paint what you want to, no matter what anyone else says. You may not always know what you want to create, but that’s good. Keep working, keep painting. You’ll find your way. You’ll invent something new, something unique, if you don’t give in. You’ll see everything in a new light. Reality is a bad joke. It’s nothing more than what everyone assents to, because they’re afraid. They’re afraid of what people will say. They’re afraid they have far more power than they want to discover. They’re afraid that power will lead them away from common and ordinary beliefs. They’re afraid they’ll become a target for the masses who have surrendered their own lives and don’t want to be reminded of it. They afraid they’ll find out something tremendous about themselves…”

Nothing I’ve experienced in the 50 years since then has diminished what Richard said to me.

These fears are all illusions that disintegrate when a person shoves in his chips on imagination and makes that bet and lives it.

This new language—what does it consist of? Heightened ecstatic impressions, a sense of thrilling dynamic motion, images, emotions on the aesthetic plane, and other qualities too immediate to describe. These are all in flux. There is no aim to “trap them in a bottle.” Trapping them would change their nature. The “procession of packets of energy” in some cases might appear to tell a story, but a story without the usual plotlines, without beginnings, middles, or endings.

It is a language we have known before and will know again. It is an expression of imagination itself, and it contains, as direct experience, all those desired exaltations and triumphs and joys and powers that we once thought were hidden from us, like mountaintops in the clouds. But instead, they are right here. They are flowing from person to person. They are the substance of daily life. They are vision finally realized. But they are not an ending. They are rivers.

Art is dangerous to authorities.

In 1891, Oscar Wilde wrote: “Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine.”

Authority wants limited perception.

It wants “things as they are” to rule the day.

It wants the fire of creative exploration to go out and turn to ashes.

Art is dangerous. It makes people move out of standard-response channels.

They don’t see what they’re supposed to see anymore.

That’s why schools teach brain-deadening courses in art history. Every attempt is made to codify the students’ reactions.

I’m not just talking about political art. I mean ANYTHING that truly comes out of reliance on imagination.

Those who run things—and their willing dupes—want reality to look a certain way and be experienced and felt in certain ways. These limited spectra form a shared lowest common denominator.

Even so-called spiritual experience is codified. It’s called organized religion. I call it “give money to the ceiling.” You give your money and they tell you high how the ceiling of your experience is and what you’ll find when you get there.

Art has none of these limitations. It’s created by people who’ve gone beyond the shrunken catalog of emotions, thoughts, and perceptions.

Art, by which I mean imagination, throws caution to the winds. It invents realities that engender new reactions, never before experienced.

The hammer blows and the soft propaganda of the common culture install layers of mind control: “See things, experience things in these prescribed ways.”

Over the years, I’ve encouraged a number of people to become artists. Aside from the work they then invented, I noticed their whole approach to, and perception of, life altered radically.

Their sense of vitality, their courage, their adventurous spirit came to the foreground.

Mind control, both externally applied and self-induced, is all about putting a lid on creative power. That is its real target.

Technocrats would like you to believe that hooking your brain up to some super-computer will fulfill your needs and desires. They seek to prove that all invention, all creation, all art, all imagination is merely a set of calculations within a closed system.

This effort betrays their own despair: they see no way they can truly create.

It is the vacuum in which all elites live. They build up a frozen dead consciousness of models and algorithms and “solutions,” and they seek to impose it, as reality, on the minds of populations.

Essentially, they’re saying, “If we have a soul-sickness, you have to have it, too.”

It’s called hatred of life.

On the other hand, individual creative power launches from a platform of freedom and rises through layer upon layer of greater freedom.

From that perspective, authoritarian power looks like a sick-unto-dying charade.

There are two levels of fake news. The first one, many people know about. This is false and deceptive information broadcast by major media, to keep the public from discovering what really goes on under the surface and behind the veil, where power is used.

The second level, very few people understand. It is owned and operated by what I call the Wizards of Is. They say, “Now this IS and that IS and here is something else that IS…keep looking and thinking about what is, what already exists.”

“Familiarize yourself with everything that already exists. We will give you an endless supply of things and ideas you can peruse and feast on. We will give you what exists. Look at all these things and accept them. Keep doing that.”

The corollary is: There is nothing for you to create. Everything that can be created is being created. You yourself have no power to create.

This is the deeper lie. This is where the battle stops and the individual surrenders.

This is where the individual who could be more becomes less.

This is where the artist is still-born and decides to live in half-light.

This is also where vital energies deplete and peter out.

This is where the machine takes over.

OR…

The individual can wake up and deploy his imagination.

Without limit.

This is where the new battle begins. This is where the artist sets aside all the standard responses and petty emotions and, instead, INVENTS.

This is where fear is blown away.

This is where the individual reacquaints himself with his deepest drives.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

Disrupting the story line of the mechanical mind

Piero della Francesca, Antoni Gaudi, and Salvador Dali

by Jon Rappoport

July 30, 2021

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What city is this
Whose moments tremble
Azure sky and lime lights
Walking in the intersections
Through the squares of paradise

People are solidly addicted to story line. Beginning, middle, end. They want to have it, over and over, in different guises.

The ultimate payoff of that addiction? There is none. Except the need for more.

Propaganda, media, announced government policy, education, religious messages, hundreds of medical treatments—the underlying theme is polished story line. Wrapped up and sold. When the wrong ending looms like a thundercloud, an order to goes out to hide it or lie about it.

When a relentlessly creative individual disrupts story lines, an unlimited number of universes opens up. And every one of them causes tremors in the addict.

“Don’t do that. I don’t understand what you’re doing. Stop. It makes no sense. You’re crazy. Where is the ending? Civilization is going to fall into the sea. What is your message? I can’t find it. Boil down what you’re saying. God will punish you.”

The addict feels his mind is cracking. He runs screaming in the night looking for his next fix.

For example, the open and basically endless poetry of Pablo Neruda, Walt Whitman, William Carlos Williams, and Arthur Rimbaud can have that effect.

So many new worlds moving through the old one.

Why does a story have to have a recognizable plot and a tuned-up climax? Same question: Why does a person need to inject heroin?

Look at Piero della Francesca’s 1464 fresco, Legend of the True Cross—perhaps the greatest painting of the Renaissance. In a series of episodic panels, it traces the mythical history of the wooden cross on which Jesus was crucified. However, there are a number of puzzling “non-linear” representations in Piero’s work, the most famous of which is the panel titled, King Solomon Receiving the Queen of Sheba. What does that meeting have to do with the purported journey of the timber on which Jesus hung?

The Roman Church would claim it is symbolic of an archetypal super-event called The Arrival, and refers to the birth of the Messiah or his later entrance into public life as a teacher; or Sheba had precognitive knowledge of the tree whose wood would be used to make the cross. That’s an extraordinary stretch, to say the least. But it’s typical of a strategy down through the ages: when a promoted story line breaks down, invent a way of claiming it’s still coherent.

Buttress conventional story at all costs.

Mechanical minds will always reduce events, data, history, science, etc., to manageable stories.

Oceanic artists go the other way: they proliferate their work beyond any mechanical limit or summarized interpretation.

Why does that matter? Because, for these artists and their committed audiences, routine day-to-day experience is cracked open like an egg, out of which emerge vital energies of concealed dimensions. Life becomes LIFE.

When I was 21, a friend showed me photos of the architectural productions of the Spanish genius, Antoni Gaudi, scattered throughout Barcelona. My first reaction was, these buildings came from another planet. My second reaction: how was he allowed to build these structures?

Gaudi was a technical innovator of the first order. He developed forms and methods of construction that surpassed the engineering rationale of the great cathedrals of Europe. At the same time, he confounded old ideas of space. The experience of seeing or standing in one of his buildings yielded up the sensation of living in a DIFFERENT KIND OF CONTINUUM.

That new continuum disrupts the story line of consciousness by proliferating a new narrative that has no convenient ending. The old way of seeing has been given a bath in some mysterious dynamo and is vitalized.

Habitual categories and compartments of perception have dissolved.

Who would have known this was possible, unless Gaudi (1852-1926) had lived?

Our world, contrary to all consensus, is meant to be revolutionized by art, by imagination, right down to its core.

That this has not happened is no sign that the process is irrelevant. It is only a testament to the collective resistance.

Who knows how many such revolutions have been shunted aside and rejected, in favor of the consensus-shape we now think of as central and eternal?

We are living in a default structure, the one that has been left over after all the prior revolutions have been put to sleep.

Occasionally, an artist will take on the role of actor and performer, in order to deal with the denizens and mental dwarves of ministries of truth. Over the past hundred years, it would be hard to find an artist who carried out such a program with more skill and verve than Salvador Dali.

Let’s start here. To absorb a work of imagination, one has to use his own imagination.

Since this is considered unlikely, pundits earnestly help us with step-down contexts, so we can understand the work in pedestrian terms. In other words, so we can reduce it to nothing.

Salvador Dali was not content to allow this to happen.

The critics would have declared Dali a minor lunatic if he hadn’t possessed such formidable classical painting skills.

He placed his repeating images (the notorious melting watch, the face and body of his wife, the ornate and fierce skeletal structures of unknown creatures) on the canvas as if they had as much right to be there as any familiar object.

This was quite troubling to many people. If an immense jawbone that was also a rib or a forked femur could rival a perfectly rendered lamp or couch or book (on the same canvas), where were all the accoutrements and assurances of modern comfortable living?

Where was the pleasantly mesmerizing effect of a predictable existence?

Where was a protective class structure that depended on nothing more than money and cultural slogans?

Dali invented vast comedies on canvas. But the overall joke turned, as the viewer’s eye moved, into a nightmare, into an entrancing interlude of music, a memory of something that had never happened, a gang of genies coming out of corked bottles. A bewildering mix of attitudes sprang out from the paintings.

What was the man doing? Was he mocking the audience? Was he simply showing off? Was he inventing waking dreams? Was he, God forbid, actually imagining something entirely new that resisted classification?

Words failed viewers and critics and colleagues and enemies.

But they didn’t fail Dali. He took every occasion to explain his work. However, his explications were handed out in a way that made it plain he was telling tall tales—interesting, hilarious, and preposterous tall tales.

Every interview and press conference he gave, gave birth to more attacks on him. Was he inviting scorn? Was he really above it all? Was he toying with the press like some perverse Olympian?

Critics flocked to make him persona non grata, but what was the persona they were exiling? They had no idea then, and they have no idea now.

It comes back to this: when you invent something truly novel, you know that you are going to stir the forces trapped within others that aspire to do the very same thing. You know that others are going to begin by denying that anything truly NEW even exists. That DOES make the situation a comedy (among other things), whether you want to admit it or not.

It is possible that every statement ever uttered in public by Dali was a lie. A fabrication. An invention dedicated to constructing a massive (and contradictory) persona.

Commentators who try to take on Dali’s life usually center on the early death of his young brother as the core explanation for Dali’s “basic confusion”—which resulted in his bizarre approach to his own fame.

However, these days, with good reason, we might more correctly say Dali was playing the media on his own terms, after realizing that no reporter wanted the real Dali (whatever that might mean)—some fiction was being asked for, and the artist was merely being accommodating.

He was creating a self (or selves) that matched his paintings.

It is generally acknowledged that no artist of the 20th century was superior to Dali in the ability to render realistic detail.

But of course Dali’s work was not about realism.

The most complex paintings—see, for example, Christopher Columbus Discovering America and The Hallucinogenic Toreador—brilliantly orchestrated the interpenetration of various solidities/realities, more or less occupying the same space.

At some point in his career, Dali saw (decided) there was no limit to what he could assemble in the same space—and there was no limit to the number of spaces he could corral into the same canvas. A painting could become a science-fiction novel reaching into several pasts and futures. The protagonist (the viewer) could find himself in such a simultaneity.

Critics have attacked the paintings relentlessly. They are offended at Dali’s skill, which matches the best work of the meticulous Dutch Renaissance masters.

They hate the dissonance. They resent Dali’s mordant wit and rankle at the idea that Dali could carry out monstrous jokes in such fierce extended detail.

But above all, the sheer imagination harpoons the critics. How dare a painter turn reality upside down so blatantly, while rubbing their faces in it.

The cherry on the cake was: for every attack the critics launched at Dali the man (they really had no idea who he was), Dali would come back at them with yet another elaborate piece of fiction about himself. It was unfair. The scholars were “devoted to the truth.” The painter was free to invent himself over and over as many times as he fancied.

Dali was holding up a mirror. He was saying, “You people are like me. We’re all doing fiction. I’m much better at it. In the process, I get at a much deeper truth.”

Dali was the hallucinogenic toreador. He was holding off and skirting the bull (shit) rushes of the critics and the historians. They charged at him. He moved with his cape—and stepped out of the way.

The principles of organized society dictate that a person must be who he is, even if that is a cartoon of a cartoon. A person must be one recognizable caricature forever, must be IDed, must have one basic function. Must—as a civilization goes down the trail of decline—be watched and recorded and profiled.

When a person shows up who is many different things, who can invent himself at the drop of hat, who seems to stand in 14 different places at the same time, the Order trembles.

(Fake) reality declares: what you said yesterday must synchronize absolutely with what you say today.

This rule (“being the only thing you are”) guarantees that human beings will resonate with the premise that we all live and think and work in one continuum of space and time. One. Only one. Forever. The biggest joke of all. The big lie.

Whatever he was, however despicable he may have been in certain respects, Dali broke that egg. Broke the cardinal rule.

He reveled in doing it. He made people wait for an answer about himself, and the answer never came. Instead, he gave them a hundred answers, improvised like odd-shaped and meticulous reveries.

He threw people back on their own resources, and those resources proved to be severely limited.

How harsh for conventional critics to discover that nothing in Dali’s education produced an explanation for his ability to render an object so perfectly on the canvas. It was almost as if, deciding that he would present competing circumstances inside one painting, he perversely ENABLED himself to do the job with exacting skill, “making subversive photographs come to life.”

That was too much.

But there the paintings are.

Imagination realized.

Like it or not, Dali paved the way for many others. He opened doors and windows.

And the pressure has been building. The growing failure of major institutions (organized religion, psychology, education, government) to keep the cork in the bottle signals a prison break in progress.

The pot is boiling. People want out. Even if they don’t know where out is.

Somewhere along the line we have to give the green light to our own creative force. That is the first great day. That’s the dawn of no coerced boundaries. Everything we’ve been taught tells us that a life lived entirely from creative power is impossible. We don’t have it within us. We should maintain silence and propriety in the face of greater official power and wisdom. We must abide by the rules. We must, at best, “surrender to the universe.”

But what if, when we come around the far turn, we see that the universe is us? Is simply one part of imagination? Is a twinkling rendition we installed to keep us titillated with dreams that would forever drift out of reach? What if it turns out that we are the perverse ones and a Dali is quite normal?

What if we pop out of the fences of this culture and this continuum and this tired movie called Planet Earth?


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

If the Individual is an Artist of Reality

by Jon Rappoport

July 22, 2021

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…Then what are the Illuminati illuminated ABOUT?

They’re illuminated about their own invented narratives and story lines and symbols and ceremonies and rituals—which, when you add them up, result in ART; in that case, perverse art.

Every secret society and organized religion…if you stripped them of their art, what would they have left? About as much hair as Sampson, after Delilah clipped it off.

It’s easy to say, “Oh, but the masses are incapable—one person at a time—of becoming artists who individually invent and shape their own highest realities, so why even bring it up as a possibility? Just forget about it and let life go on as it always has.”

But here is the problem. When the individual believes he is unable to invent his own reality, he accepts what perverse groups design for him. He’s entranced by their symbols and story lines and pretended metaphysical insights and their systems of illumination and their concocted theatrical ceremonies and rituals. He doesn’t see the art and artifice because he doesn’t see art at all.

So he says, “My church, my secret society doesn’t invent anything. My church has DISCOVERED a connection to the ultimate reality, and I’ve joined them.”

It’s the same with the so-called science of virology. “These researchers aren’t inventing fictitious stories about the existence of viruses. They’ve DISCOVERED the viruses. I don’t know anything about that process. How could I? But they’re QUALIFIED. So I accept what they say. If it means I have hide my face with a mask, lock myself up in my home, bankrupt my business…so what? It’s NECESSARY.”

“Inserts in the brain? Nanoparticles as sensors inside the brain, receiving instructions from Control Central? QUALIFIED people would handle that, so let them shape my perception with those inserts. I’m sure it’ll work out well. I mean, SOMEBODY has to be in charge of reality. I’m certainly not. How could I be?”

Huxley, Brave New World: “Hot tunnels alternated with cool tunnels. Coolness was wedded to discomfort in the form of hard X-rays. By the time they were decanted the embryos had a horror of cold. They were predestined to emigrate to the tropics, to be miner and acetate silk spinners and steel workers. Later on their minds would be made to endorse the judgment of their bodies. ‘We condition them to thrive on heat,’ concluded Mr. Foster. ‘Our colleagues upstairs will teach them to love it’.”

Groups, large and small, are made to limit the elasticity of reality.

Here is the kicker. No one knows what any individual, over the course of his life, would invent as HIS OWN reality…but there is a general consensus that it would be too dangerous to find out, to allow such a voyage to take place.

In other words, people, left to their own devices, are threats; so they must be controlled.

In other words, freedom must be chained up.

Of course, it’s not as if we are living in a paradise here and now, with all the restrictions on freedom surrounding us.

THAT experiment is not working out well at all.

Over the long-term, the only way out of the mazes that civilizations create and impose is: individuals need to invent their own realities.

There has to be an understanding of what this means.

No one said improving that understanding would be easy.

It requires a completely different kind of education, from the bottom up.

It requires, for example, an immersion in IMAGINATION. Without it, individuals are going to opt for their smallest and most parochial conceptions of what reality can be. Individuals are going to invent what they’ve been trained to invent, or they’re going to rebel against the training like common criminals.

“Oh, but the kind of educational revolution you’re suggesting would be too difficult. It could never work…”

Newsflash: every radical departure from What Already Exists is a massive challenge.

And just to be clear, here is civilization’s counter-argument: “Reality you say? This is not something that is INVENTED. It’s DISCOVERED. It’s discovered by the people who are trained in that kind of work. What they reveal, we must follow. Because it is the truth.”

There it is, the Big Lie.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


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.

William Blake: prince of imagination, vision, and faith

“If the doors of perception were cleansed, everything would appear to man as it is: infinite.”

by Jon Rappoport

July 21, 2021

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Since I’ve been writing about the individual inventing his own reality, and having posted a piece about Ayn Rand, I now turn to a quite different person of a different time, the poet and artist William Blake (1757-1827). No doubt Blake would take vigorous issue with my simple claim that he created his own reality; nevertheless…

Aside from the fact that Blake mercilessly criticized organized religion, there is no other poet in the English language possessed of greater faith; the form of that faith, and whether it changed substantially over the years are subjects for scholars. I view Blake, first and foremost, as a poet, who set down what he saw, envisioned, imagined, believed, and questioned.

Here is a question (was it rhetorical?) he raised in one of the greatest poems in any language:

Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?

In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!

When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?

Blake also wrote: “And now let me finish with assuring you that, Tho I have been very unhappy, I am so no longer. I am again. Emerged into the light of day; I still & shall to Eternity Embrace Christianity and Adore him who is the Express image of God; but I have travel’d thro’ Perils & Darkness not unlike a Champion. I have Conquer’d, and shall still Go on Conquering. Nothing can withstand the fury of my Course among the Stars of God & in the Abysses of the Accuser. My Enthusiasm is still what it was, only Enlarged and conform’d.”

And he wrote this: “The ancient poets animated all objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could perceive. And particularly they studied the genius of each city & country, placing it under its mental deity; Till a system was formed, which some took advantage of, & enslav’d the vulgar by attempting to realize or abstract the mental deities from their objects: thus began priesthood; Choosing forms of worship from poetic tales. And at length they pronounc’d that the Gods had order’d such things. Thus men forgot that all deities reside in the human breast.”

And this: “It is not because Angels are Holier than Men or Devils that makes them Angels but because they do not Expect Holiness from one another but from God only.”

“Thinking as I do that the Creator of this World is a very Cruel Being & being a Worshipper of Christ, I cannot help saying: ‘the Son, O how unlike the Father!’ First God Almighty comes with a Thump on the Head. Then Jesus Christ comes with a balm to heal it.”

Make of that powerful brew what you will; I just keep reading Blake’s lines of poetry:

To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.

He who doubts from what he sees
Will ne’er believe, do what you please.
If the sun and moon should doubt
They’d immediately go out.

Love to faults is always blind,
Always is to joys inclined,
Lawless, winged, and unconfined,
And breaks all chains from every mind.

Love seeketh not itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a heaven in hell’s despair.

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

In every cry of every Man,
In every Infant’s cry of fear,
In every voice, in every ban,
The mind-forg’d manacles I hear.

Blake went to school only until he was ten. He was then educated at home by his mother.

His religious faith was equaled by his faith in imagination. Perhaps to him they were the same.

There is no other voice like his in the history of poetry. It is unique, in part, because he never wavered from his own vision. He took jobs and commissions, but they never distracted him from the ocean of his work.

He had “a genius of the ear.” He could hear a nursery rhyme and then raise it to the door of his heaven without ever dropping back into a trace of syrup or sentimentality.

A hundred years later, Yeats read Blake’s most magic lines and realized that modern poems could be filled with them. Magic? Here is what I mean:

Yeats: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.

Blake: What immortal hand or eye could frame thy fearful symmetry?

Yeats: Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

Blake: When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

I mention Yeats for another reason. There is a story told about his marriage. There are several versions. The one I prefer illustrates what I mean when I say: no one can predict what reality an individual will create when left to his own devices, when freed from the restraints of what he is supposed to believe. The story also illustrates the lengths to which individuals will go to forge a unique vision.

For almost 30 years, Yeats pursued the love of his life, Maud Gonne. She refused to marry him. A year after she turned him down for the last time, in 1916, grief-stricken and at the end of his rope, at age 52, he married Georgie Hyde-Lees, who was 25.

Almost immediately, Georgie saw their marriage was doomed to fail. Four days after their wedding, she suddenly told Yeats she could perform automatic writing. “Instructors” dictated highly esoteric texts to her. This intrigued Yeats. Together, they began to work out myriad systems to make metaphysical sense of the huge cascades of strange pages Georgie began setting down—-eventually resulting in the 1925 book, A Vision.

Their marriage endured. They had two children. Yeats dug deeply into the automatic texts and extracted images and phrases which he used and reworked in his late poems.

In my preferred version of this story, Georgie, desperate to hold on to her husband, invented both the pretext of her ability to perform automatic writing AND invented the ensuing mystical texts.

It worked. Once the new alliance with her husband was formed, the marriage survived; and Yeats, his writing up against a brick wall of exhaustion, suddenly found new sources and material and inspiration.

New life, new poetry, new partnership, new love.

Georgie decided to risk everything, and she won.

On the wings of THE INVENTION OF REALITY.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


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.