Rappoport interviews dead Tesla

by Jon Rappoport

June 29, 2014

www.nomorefakenews.com

Just in case a few over-eager readers think I’m actually interviewing Tesla, or “channeling” him, this is fiction.

Bringing back Nikola Tesla (1856-1943), the famous inventor, for an encore involved a few emails to Limbo, where he is continuing his experiments.

I expected the conversation would be like pulling teeth. Taciturn, dour, bitter. All that. But happily, it wasn’t the case. As with Orson Welles, another one of my interviewees, I was surprised to find that Tesla shares many of my views.

Q: How’s it going?

A: Fairly well, Jon. Working hard as always.

Q: Anything new to report?

A: Sure. Turns out the universe is an illusion, when you drill down far enough. And I have.

Q: Illusion in what sense?

A: It’s too real.

Q: Excuse me?

A: You have to be suspicious when things get too real. Look for a con. See?

Q: Actually, I think I might.

A: For a long time, I was working to tap into inherent energies in the Earth, in space, and I solved all that. I have the inventions built now, fully functioning. It’s in the bag. You reached me at an opportune time, because I’ve got a guy who’s handling the promotion on it. All open source. He’ll be distributing complete blueprints to several planets, actually. But then I needed something new to do, so I started applying high power resolution to sub-atomic phenomena, and I came up with a few exciting wrinkles.

Q: Let’s hear about that.

A: Travel far enough into micro-micro landscapes, and you come across a man holding up a sign that says: THIS IS REAL. See what I mean? It’s a form of hypnosis. THIS IS REAL. THIS IS THE MOST REAL IT GETS. So you have to think somebody is pulling the wool over your eyes.

Q: It’s a scam.

A: Full scam.

Q: And who is this man with the sign?

A: Just a prop. Depending on what angle you’re looking at him from, he appears in different guises. That’s where cultural programming comes in. Whoever a particular culture would consider the most elevated authority figure, that’s who this man with the sign looks like.

Q: Who does he look like to you?

A: Donald Duck. But that’s because I’ve developed a bit of a sense of humor. It was a long time coming. You remember a guy named Lenny Bruce?

Q: Sure.

A: Well, Lenny and I have been hanging out. He’s kicked his habit, and he’s clean. But he’s still the same basic Lenny.

Q: I would never have expected…

A: I know. Weird, isn’t it? He’s something. Anyway, what I’m saying is, physical reality, this whole universe, is a…

Q: Virtual reality.

A: Not exactly. No. It’s constructed as a kingdom might be, except there is no king. There are corporate managers.

Q: Rather confusing.

A: Sure. The whole hierarchy of species, for example. From simple to complex. The progression from very tiny particles to whole galaxies. It looks organized. And it is. But that’s a feint. It’s a diversion in a shell game. A lot of effort was put into making the universe seem real in an imposing way. But as I said, this is a clue. When someone goes around pounding his chest all the time and telling you who he is, you begin to wonder what’s going on behind the facade. On Earth, people live in a very provincial monopoly in which, for instance, energy is controlled by a small number of people-so it’s natural that pioneers would look for other sources of energy. As I did. And I found them in abundance. There never was and never will be a scarcity, unless it’s imposed. But that’s just the beginning of a much larger story. From my perspective now, when I look at physical reality, I see facades.

Q: Stage flats.

A: A man running around with a sign that says THIS IS REAL.

Q: Can you do something with that? I mean, can you invent something that makes use of that?

A: An interesting question. You can always do something with something. Do you know? You can guide it, expand it, constrict it, you can work it like salt-water taffy. But when you’re basically dealing with nothing, it’s different.

Q: Nothing?

A: If you have facades, what’s in back of them? Nothing. The show’s not going on back there.

Q: I see.

A: Nevertheless, I wanted to explore that.

Q: Explore nothing.

A: Sure. Wouldn’t you?

Q: I guess so.

A: It’s a challenge. What do you do with nothing? I wish more philosophers and scientists had asked that question.

Q: You don’t mean a vacuum.

A: A vacuum sucks in matter and energy. Nothing doesn’t do that.

Q: What’s it like being in nothing?

A: Restful.

Q: Is nothing a space?

A: No.

Q: Then how do you describe it?

A: Lenny said it was like a long moment when his mother stopped talking at him.

Q: If it isn’t space, how do you move around in it?

A: Turns out you can move around in no-space. You’re in a void. What was the other thing Lenny said about the void? It’s like Alzheimer’s, except your mind is very clear and you remember everything.

Q: Can you use it?

A: Well, as an inventor, naturally I was interested in the possibility. It took me a while, but I did come up with what I call the physics of potential. Nothing happens, but anything and everything could happen. If you took the moment before a thought occurs, and expanded it to infinity, what would you have? You’d have consciousness of possibility. You’d have a moment with no end to consider whatever you wanted to consider. A plan, an idea, a design, an invention, a work of art, an action. I was already acquainted with this, in a much more limited sense, because as you probably know, I was able to visualize a new invention as a completely finished entity before I ever laid a finger on materials and built it.

Q: The physics of potential.

A: The universe is, from this perspective, the creation of overall amnesia.

Q: People might have trouble understanding that.

A: I’ve never waited for people to catch up to me. They have to grapple with what I’ve done. Most of the time, they don’t want to. So why should I be concerned? When you leave the infinite moment of potential, and let’s say you make a universe, you might develop amnesia about what you left behind, which is that Nothing where it all started.

Q: You’re not just talking semantics.

A: No, this is very real. The void is the absence of creating. It’s not a thing. It’s just a word you apply to not creating. You don’t create ANYTHING. You stop because you want to. And when you do that, you have an energy potential that is infinite. Here’s another metaphor. The universe you’re living in is a cartoon. You’re in a consensus reconstituted can of orange juice.

Q: And what does Lenny call that?

A: The Big Bong.

Q: Why do we buy the idea that the physical universe is so real? Why don’t we see the little man with the sign?

A: Because you want real. Real is a very interesting experience. For a while. If you ran around pulling out a chunk of sky here and a chunk of sky there, the illusion would become obvious. So you institute laws that connect everything together-or seem to. If you pull out a chunk of sky you get a huge explosion and things go haywire. At least, that’s what you firmly believe. Actually, you can remove things and nothing happens. You just have a steady hole. But everyone denies that.

Q: You mean there is a conspiracy to maintain the basic laws of physics?

A: A consensus.

Q: You destroyed a consensus when you found a way to tap into energy and send it to people all over the world.

A: No. I destroyed the monopoly of a few men.

Q: Which is why they cut you off.

A: They told themselves a little story. That I was crazy. Of course, they really knew why they shut off my funding.

Q: So there are an infinity of universes.

A: Of course. That’s obvious. Just as there is no scarcity of energy, there is no scarcity of universes. It’s a walk in the park. But One Universe is a kind of religion. I had inklings of that while I was doing my energy experiments on Earth. But now I see the fuller picture. People think they’re free from the demented ideas of religions. But they have their own. Universe. One Universe. And it’s a humdinger. One reason it works so well is there is no visible church. Universe appears to be neutral. Dogma isn’t labeled dogma.

Q: What’s it like seeing all sorts of other universes and being able to travel to them?

A: It’s quite enjoyable. I would say relaxed. You give up this whole ridiculous idea of entropy, according to which usable energy is diminishing. But people want entropy. They want that idea that existence is limited. Like I say, it’s a religion. If a person thinks he’s limited, then he wants to posit an energy supply that’s limited.

Q: You always did opt for abundance.

A: Why shouldn’t I? It’s a better concept than scarcity.

Q: But you’re not really talking about science.

A: Of course not. I’m talking about desire. What a person wants to create. You really start learning about desire when you use your imagination with great intensity and scope, because most of your desires ARE discovered/invented through imagination. This is life. Full life. It’s not dry. It’s passion taken to higher and deeper levels. When I was standing in the middle of one of my electric-lightning- spouting machines, the essence of that was BEING ALIVE.

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 29^th 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 emails at www.nomorefakenews.com

Power Outside The Matrix: what it means

Jun28

Power Outside The Matrix: what it means

by Jon Rappoport

June 28, 2014

www.nomorefakenews.com

Time and time again, during my 30 years as a reporter, I’ve come across what I call “the elite creation of reality.”

It shows up in areas of politics, energy, modern medicine, media, money, covert intelligence, the military, religion, science, multinational corporations.

It’s as if a painter is working on a mural, and the global population is looking at that mural and seeing it as Reality.

This goes deeper. Much deeper:

Limited concepts of space, time, energy, the mind, cause-and-effect—these, too, are “given” to human beings as the be-all and end-all of a story. A story that ultimately short-circuits and short-changes what the individual is really capable of.

The entire mural of imposed Reality is aimed at radically diminishing the individual’s power.

So in addition to my work as an investigative reporter, I’ve been researching the individual’s ability to go beyond this mural of reality.

In the late 1980s, in concert with the brilliant hypnotherapist Jack True (who gave up doing hypnosis with his patients), I developed many, many exercises and techniques for expanding the creative power of the individual.

Some of those exercises are included in my new collection, Power Outside The Matrix. These techniques are aimed at accessing more energy, more imagination, more stability and intelligence “beyond the mural of reality.”

In fact, Power Outside The Matrix is all about being able to think, act, and create both outside and inside The Matrix. Because that’s the goal: to be able to function in both places.

People are consciously or unconsciously fixated on boundaries and systems. They are hoping for whatever can be delivered through a system.

That is a form of mind control.

Freedom isn’t a system.

But freedom needs creative power, otherwise it just sits there and becomes a lonely statue gathering dust in an abandoned park.

At one time or another, every human being who has ever lived on this planet has abandoned his creative power. The question is: does he want to get it back?

It never really goes away. It is always there. It is the basis of a life that can be lived. A life that can be chosen. People instead choose roles that don’t require that power. They think this is a winning strategy.

It isn’t.

A section of this mega-collection, titled Power Outside The Matrix and The Invention of New Reality, features creative exercises you do on a daily basis that will help you move toward the goal of power outside The Matrix. The exercises are all about increasing your energy and stability—and about the invention of new spaces.

Access to your internal energy, in huge amounts, is necessary for a life outside The Matrix-rather than relying on the illusory energy that The Matrix seems to provide.

I’ve developed the exercises for exactly that purpose: your energy, your dynamism.

This mega-collection, Power Outside The Matrix, features a long section called: Analyzing Information in the Age of Disinformation.

This section is filled with specific examples of my past investigations. Based on 25 years of experience, it shows you how to take apart and put together data that lead to valid conclusions.

It is far more than a logic course.

It’s an advanced approach to analysis.

Establishing power outside The Matrix requires that a person be able to deal with today’s flood of information, misinformation, and disinformation. I’ve left no stone unturned in bringing you a workable approach to analysis.

There is a further extensive section titled, A Writer’s Tutorial. People have been asking me to provide this Tutorial, and here it is in spades. But it’s not just for writers. It’s for any creative person who wants to grasp his own power, understand it, and use it to reach out into the world.

The Tutorial exposes you to lessons that go far beyond what is normally taught in writer’s seminars. In fact, several core concepts in the Tutorial contradict ordinary writer’s seminars, and thus give you access to inner resources that would otherwise be ignored.

And finally, I have included a number of audio seminars that offer a wider perspective about The Matrix and what it means to live and work outside it.

Here are the particulars. These are audio presentations. 55 total hours.

* Analyzing Information in the Age of Disinformation (11.5-hours)

* Writer’s Tutorial (8.5-hours)

* Power Outside The Matrix and The Invention of New Reality (6.5-hours)

Then you will receive the following audio presentations I have previously done:

* The Third Philosophy of Imagination (1-hour)

* The Infinite Imagination (3-hours)

* The Mass Projection of Events (1.5-hours)

* The Decentralization of Power (1.5-hours)

* Creating the Future (6-hours)

* Pictures of Reality (6-hours)

* The Real History of America (2-hours)

* Corporations: The New Gods (7.5-hours)

I have included an additional bonus section:

* The complete text (331 pages) of AIDS INC., the book that exposed a conspiracy of scientific fraud deep within the medical research establishment. The book has become a sought-after item, since its publication in 1988. It contains material about viruses, medical testing, and the invention of disease that is, now and in the future, vital to our understanding of phony epidemics arising in our midst (and how to analyze them). I assure you, the revelations in the book will surprise you; they cut much deeper and are more subtle than “virus made in a lab” scenarios.

* A 2-hour radio interview I did on AIDS in Dec 1987 with host Roy Tuckman on KPFK in Los Angeles, California.

* My book, The Secret Behind Secret Societies

(All the audio presentations are mp3 files and the books are pdf files. You download them upon purchase. You’ll receive an email with a link to the entire collection.)

This is about your power. Not as an abstract idea, but as a living core of your being. This is about accessing that power and using it.

Jon Rappoport

Logic, imagination, and magic

Jun27

by Jon Rappoport

June 27, 2014

(To join our email list, click here.)

Logic applies to the physical universe.

It applies to statements made about that universe. It applies to factual language.

Many wonderful things can be done with logic. Don’t leave home without it. Don’t analyze information without it. Don’t endure an education without it.

But art and imagination are of another universe(s). They can deploy logic, but they can also invent in any direction without limit, and they can embrace contradiction. They can build worlds in which space and time and energy are quite different.

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. They 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 employed 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 (included in Exit From The Matrix). 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.

Jon Rappoport

How many covert ops can dance on the head of a pin?

Jun27

How many covert ops can dance on the head of a pin?

by Jon Rappoport

June 27, 2014

www.nomorefakenews.com

These are notes on covert ops I’ve made over the years. They apply to any arena where deception is the name of the game.

Every covert op needs a cover story. That is, the public must be made to look in the wrong direction.

A cover story not only hides the identity of perpetrators, it also imparts the wrong meaning to the event being staged.

Example: a war is set in motion, in order to bankrupt several governments. But the public is told the war means: “protecting democracy.”

Major covert ops have more than one objective. A war will bankrupt governments; it will also result in a peace treaty that creates a larger cooperative structure than previously existed, spanning several nations—and the men who end up running that larger structure are the same men who triggered the war in the first place. They wind up with more control and power than they had before.

Covert ops of great size and importance must include the laying of false trails. Thus, in the wake of the op, investigators will find clues that lead them down roads that come, eventually, to alleys that dead-end against blank walls.

In the process, they discover perpetrators who weren’t really perpetrators. They discover motives that weren’t true motives. They pick up hints that were deposited like break crumbs to divert and mislead.

In case some element of the actual covert op is revealed, there is the limited hangout. This is a confession. It offers a mea culpa, but only concerning a relatively trivial factor.

“Yes, our agency did make mistakes, and those mistakes led to the loss of public funds. But we are taking steps to assure nothing like this ever happens again…”

And of course, in order to “take steps,” the agency needs a larger budget.

A massive series of connected covert ops, over a long period of time, are built, as a kind of hierarchy that leads to some ultimate objective. This is the “ops within ops” strategy.

Identifying and derailing a handful of ops will not stop the overall program.

For example, an ultimate objective would be: the triumph of Globalism. This means putting the nations and peoples of the world under a single management system.

That system, an enormous bureaucracy run at the very top by a small secret group, would eventually make all important decisions involving: politics; the economy; money; credit; production and distribution of goods and services; energy; military use of force; media/propaganda content; medical treatment; mega-corporate power; natural resources; food; water; geo-engineering; freedom of speech; education; geo-distribution of populations.

In order to create this overarching reality, multiple systems of mind control, indoctrination, self-policing, and operant conditioning must be enacted and expanded.

Such a conspiracy (Globalism) does not need the conscious cooperation of many people who are “in on the secret.” That childish position is repeated intentionally by idiots and dupes and pawns and infiltrators.

Compartmentalization is the key. You can take any group and assign it various separate tasks, each one masked by “humanitarian” slogans, and you will get eager compliance.

Only a few people in charge see the big picture and understand how the separate tasks (ops) combine to achieve the overall goal.

The art and skill of covert ops involve coordinating such machinery to yield the desired result.

The main propaganda/media approach is: “Events that are taking place in the world are unrelated. These crises and problems are separate fires breaking out, without a central cause.”

To view this in action, just watch the network evening news. It’s an exercise meant to engender partitioned minds, which nibble a bit here, a bit there. Stories break out, are covered, and then disappear, to be replaced by new material.

The elite anchors are inducers of short-term memory and long-term amnesia.

Alongside media, a continuous downpour of propaganda urges the primacy of the group and the mass and the collective beyond any “selfish” concerns.

This op is intended to erase the very concept of the individual.

Why? Because the free, powerful, and independent individual can expose how “the group” is being recreated every day as a mythological symbol.

A symbol of (false) hope, caring, dependence, passivity, acquiescence, surrender, and envelopment within the banner of “enlightened humane leadership.”

If it quacks and walks like an organized religion, it is some version of an organized religion. It doesn’t need a God. It just needs a priest class to preach Rescue For All People.

Quack, quack. Op, op.

Jon Rappoport

One day in 1913, Woodrow Wilson had a shocking thought

Jun26

One day in 1913, Woodrow Wilson had a shocking thought

by Jon Rappoport

June 26, 2014

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

President Woodrow Wilson was one of those men who saw a horrible danger to his country, looked it in the eye, and decided that, instead of trying to decentralize and dismantle that overarching power, he would hope against hope that greater cooperation among leaders of nations would bring sanity and peace and freedom of the individual.

Of course, he was wrong.

Wilson knew he was entangled with those very powers that were destroying the best of what American stood for.

Nevertheless, no modern President has made more revealing comments on the existence and nature of the shadow government, the real rulers of America.

This was his 1913 thought:

“…the control of credit…has become dangerously centralized…The great monopoly in this country is the monopoly of big credits. So long as that exists, our old variety and freedom and individual energy of development are out of the question.

“A great industrial nation is controlled by its system of credit. Our system of credit is privately concentrated. The growth of the nation, therefore, and all our activities are in the hands of a few men who, even if their action be honest and intended for the public interest, are necessarily concentrated upon the great undertakings in which their own money is involved and who necessarily, by very reason of their own limitations, chill and check and destroy genuine economic freedom.

“This is the greatest question of all, and to this statesmen must address themselves with an earnest determination to serve the long future and the true liberties of men. This money trust, or, as it should be more properly called, this credit trust, of which Congress has begun an investigation, is no myth; it is no imaginary thing.

“It is not an ordinary trust like another. It doesn’t do business every day. It does business only when there is occasion to do business. You can sometimes do something large when it isn’t watching, but when it is watching, you can’t do much. And I have seen men squeezed by it; I have seen men who, as they themselves expressed it, were put ‘out of business by Wall Street,’ because Wall Street found them inconvenient and didn’t want their competition.”

(From “The New Freedom—A call for the emancipation of the generous energies of a people,” Chapter 8, “Monopoly or Opportunity,” 1913)

Actually, six years earlier, Wilson had another compelling thought:

“Since trade ignores national boundaries and the manufacturer insists on having the world as a market, the flag of his nation must follow him, and the doors of the nations which are closed must be battered down. Concessions obtained by financiers must be safeguarded by ministers of state, even if the sovereignty of unwilling nations be outraged in the process. Colonies must be obtained or planted, in order that no useful corner of the world may be overlooked or left unused.” (unpublished paper, 1907, quoted in “The Rising American Empire,” by Richard Warner Van Alstyne, 1960)

In a speech delivered on September 5, 1919, about the Peace Treaty ending WW1, Wilson stated:

“The real reason that the war that we have just finished took place was that Germany was afraid her commercial rivals were going to get the better of her, and the reason why some nations went into the war against Germany was that they thought Germany would get the commercial advantage of them. The seed of the jealousy, the seed of the deep-seated hatred was hot, successful commercial and industrial rivalry.”

And from “The New Freedom,” 1913, we have this blockbuster:

“Since I entered politics, I have chiefly had men’s views confided to me privately. Some of the biggest men in the United States, in the field of commerce and manufacture, are afraid of somebody, are afraid of something. They know that there is a power somewhere so organized, so subtle, so watchful, so interlocked, so complete, so pervasive, that they had better not speak above their breath when they speak in condemnation of it. They know that America is not a place of which it can be said, as it used to be, that a man may choose his own calling and pursue it just as far as his abilities enable him to pursue it; because to-day, if he enters certain fields, there are organizations which will use means against him that will prevent his building up a business which they do not want to have built up; organizations that will see to it that the ground is cut from under him and the markets shut against him. For if he begins to sell to certain retail dealers, to any retail dealers, the monopoly will refuse to sell to those dealers, and those dealers, afraid, will not buy the new man’s wares.”

And again, from “The New Freedom”:

“American industry is not free, as once it was free; American enterprise is not free; the man with only a little capital is finding it harder to get into the field, more and more impossible to compete with the big fellow. Why? Because the laws of this country do not prevent the strong from crushing the weak. That is the reason, and because the strong have crushed the weak the strong dominate the industry and the economic life of this country. No man can deny that the lines of endeavor have more and more narrowed and stiffened; no man who knows anything about the development of industry in this country can have failed to observe that the larger kinds of credit are more and more difficult to obtain, unless you obtain them upon the terms of uniting your efforts with those who already control the industries of the country; and nobody can fail to observe that any man who tries to set himself up in competition with any process of manufacture which has been taken under the control of large combinations of capital will presently find himself either squeezed out or obliged to sell and allow himself to be absorbed.”

In case there is any question about whom Wilson is referring to, when he suggests that people of talent are being edged out of the marketplace, here is a follow-up quote, from The New Freedom:

“The treasury of America lies in those ambitions, those energies, that cannot be restricted to a special favored class. It depends upon the inventions of unknown men, upon the originations of unknown men, upon the ambitions of unknown men. Every country is renewed out of the ranks of the unknown, not out of the ranks of those already famous and powerful and in control.”

And finally:

“The dominating danger in this land is not the existence of great individual combinations, — that is dangerous enough in all conscience, — but the combination of the combinations, — of the railways, the manufacturing enterprises, the great mining projects, the great enterprises for the development of the natural water-powers of the country, threaded together in the personnel of a series of boards of directors into a ‘community of interest’ more formidable than any conceivable single combination that dare appear in the open.”

The suppression of Tesla, Royal Rife, Dr. William Frederick Koch, Dr. Joseph Gold, the FDA’s war against natural health, the sidelining of many energy solutions, such as tidal projects for the production of electricity, the alignment of universities and giant corporations with the National Security State, the trashing of the public education system, the federal backing of pseudoscientific and destructive medicine, the centralized control of major media…these and many more developments are covered by Wilson’s statements.

The shadow power Wilson refers to are the “framers of reality” for the masses.

Jon Rappoport

Secret Space

Jun25

Secret Space

by Jon Rappoport

June 25, 2014

www.nomorefakenews.com

“Space can be mapped and crossed and occupied without definable limit; but it can never be conquered.” — Arthur C Clarke

“I dream with open eyes,” he answered, looking around at the door, “and others see my dreams. That is all.” — David Lindsay, A Voyage to Arcturus

“That night, at the northern end of Italy, perhaps because I was in a foreign town, when I looked up at the black sky and the stars, it occurred to me I might be looking at several universes. They all pretended to be parts of one, but underneath the masquerade, they were quite different, and I only saw the one that was familiar.” — Jon Rappoport, The Underground

Space is real. The consensus space we all perceive and operate in is real. The space an individual discovers for himself is real. And the space an artist, or anyone living a creative life, invents is real.

Space does not start from a material place. It doesn’t start from the brain. The brain and the rest of the body follow suit once space is in the process of coming into being.

Space is, in that sense, a spiritual quality.

Everyone wants more space….this is the urge of the individual soul.

Plato was, on the other hand, a space program. He reasoned that there must be a separate realm where all meanings were final and perfect. Proprietary space. The Vatican has been a space program. Its cosmology is a final description of space. Closed, not open. All of Western metaphysical philosophy is a space program….it shrinks what can be contained in space. The history of priest classes on this planet is a space program: the description of what is in space and what isn’t. Exclusive space, owned by the privileged few.

Key precepts of physics compose a space program: energy cannot be created or destroyed; unused energy falls into a special bullpen—entropy. These are massively insane ideas.

Modern psychiatry is a space program—defining states of mind as disorders without evidence…attempting to tell us what “spatial” states of mind we tend to inhabit. Another priest class.

GMO crops are a space program—protected patents on the insertion of genes into plants, randomly…that is a controlled and owned space.

Transhumanism is a space program. It wants to create a collective territory in which all human brains are linked to a super-computer, where all knowledge is defined and downloaded.

Collectivism, overt and covert, is a space program, in which some vague syrupy notion of togetherness is placed ahead of the individual and his uniqueness, “for the good of all.”

These are all space programs, because they define what is in those spaces and rule out what cannot be there.

The Surveillance State is, of course, a space program, because it seeks to limit what can happen in thoughts and in speech. Less space. Constricted space.

The individual wants more and freer space. This is a basic urge that is, at bottom, a creative impulse.

Painters understand that in their bones, because they are always inventing new spaces.

(I’ll be speaking at the Secret Space Program Conference 2014, in San Mateo, California, the weekend of June 28-29. I hope to see some of you there. For information and tickets: secretspaceprogram.org. For a synopsis of my talk, click here.)

When I started painting in 1962, my life changed overnight. Every aspect of it changed. I finally decided I would invent space and imbue it with my own thoughts, ideas, feelings, come hell or high water. And no one would have the right to dictate terms—the very idea of that happening was the height of absurdity. I obtained the dose of a tonic that could come in no other way. There was no need to compromise, adjust, or pay special homage.

If every individual shoved in his chips on a creative declaration of independence, we would have a different world. It wouldn’t be a single world. It would proliferate spaces into an open society unprecedented in the history of this planet.

At the root, this is why, historically, various leaders and groups determined they needed a “space program.” They wanted to enclose, limit, and shut down creative force, which is to say, authentic spiritual force.

Space is a fundamental aspect of the soul….free, open. The history of life on this planet is about limiting space and defining it and claiming it is owned by the few.

These are not trivial factors. They are incursions on the soul’s desire to have space and define it and create it.

So it is no surprise that a shadow government would try to own outer space and populate it with weapons and use it for mind control. I have no doubt that frequencies beamed from space would be used in an attempt to lock down consciousness on this world and eliminate private spaces.

The creative individual brushes this off like a few flies at a picnic, because he is not subscribing to any program. The commercial concentrate of humanity’s obsessions is meaningless to him, because it is reduced down to senseless remorse.

Jon Rappoport

Fluorides, the Atomic bomb, and a spy

Jun25

by Jon Rappoport

June 25, 2014

(To join our email list, click here.)

In 1997, Joel Griffiths and Chris Bryson, two respected mainstream journalists, peered into an abyss. They found a story about fluorides that was so chilling it had to be told.

The Christian Science Monitor, who had assigned the story, never published it.

Their ensuing article, “Fluoride, Teeth, and the Atomic Bomb,” has been posted on websites, sometimes with distortions, deletions, or additions. I spoke with Griffiths, and he told me to be careful I was reading a correct copy of his piece. (You can find it—“Fluoride, Teeth, and the Atomic Bomb,” at fluoridealert.org.)

Griffiths also told me that researchers who study the effects of fluorides by homing in on communities with fluoridated drinking water, versus communities with unfluoridated water, miss a major point: fluorides are everywhere—they are used throughout the pharmaceutical industry in the manufacture of drugs, and also in many other industries (e.g., aluminum, pesticide)—because fluorine is very active and binds with all sorts of other substances. Therefore, there is extremely wide public exposure to fluorides.

I want to go over some of the major points of the Griffiths-Bryson article.

Griffiths discovered hundreds of documents from the World War 2 era. These included papers from the Manhattan Project, which was launched to build the first A-bomb.

Griffiths/Bryson write: “Fluoride was the key chemical in atomic bomb production…millions of tons…were essential for the manufacture of bomb-grade uranium and plutonium for nuclear weapons throughout the Cold War.”

The documents reveal that fluoride was the most significant health hazard in the US A-bomb program, for workers and for communities around the manufacturing facilities.

Griffiths/Bryson: “Much of the original proof that fluoride is safe for humans in low doses was generated by A-bomb program scientists, who had been secretly ordered to provide ‘evidence useful in litigation’ [against persons who had been poisoned by fluoride and would sue for damages]… The first lawsuits against the US A-bomb program were not over radiation, but over fluoride damage, the [government] documents show.”

So A-bomb scientists were told they had to do studies which would conclude that fluorides were safe.

The most wide-reaching study done was carried out in Newburgh, New York, between 1945 and 1956. This was a secret op called “Program F.” The researchers obtained blood and tissue samples from people who lived in Newburgh, through the good offices of the NY State Health Department.

Griffiths/Bryson found the original and secret version of this study. Comparing it to a different sanitized version, the reporters saw that evidence of adverse effects from fluorides had been suppressed by the US Atomic Energy Commission.

Other studies during the same period were conducted at the University of Rochester. Unwitting hospital patients were given fluorides to test out the results.

Flash forward. Enter Dr. Phyllis Mullenix (see also here), the head of toxicology at Forsyth Dental Center in Boston. In the 1990s, Mullenix did a series of animal studies which showed that, as Griffiths/Bryson write: “…fluoride was a powerful central nervous system (CNS) toxin…”

Mullenix applied for further grant monies from the National Institutes of Health. She was turned down. She was also told that fluorides do not have an effect on the CNS.

But Griffiths/Bryson uncovered a 1944 Manhattan Project memo which states: “Clinical evidence suggests that uranium hexafluoride may have a rather marked central nervous system effect…it seems most likely that the F [fluoride] component rather than the T [uranium] is the causative factor.”

The 1944 memo was sent to the head of the Manhattan Project Medical Section, Colonel Stafford Warren. Warren was asked to give his okay to do animal studies on fluorides’ effects on the CNS. He immediately did give his approval.

But any records of the results of this approved project are missing. Most likely classified.

Who was the man who made that 1944 proposal for a rush-program to study the CNS effects of fluorides? Dr. Harold Hodge, who worked at the Manhattan Project.

Who was brought in to advise Mullenix 50 years later at the Forsyth Dental Center in Boston, as she studied the CNS effects of fluorides? Dr. Harold Hodge.

Who never told Mullenix of his work on fluoride toxicity for the Manhattan Project? Dr. Harold Hodge.

(To read about Jon’s collection, Power Outside The Matrix, click here.)

Was Hodge brought in to look over Mullenix’s shoulder and report on her discoveries? It turns out that Hodge, back in the 1940s, had made suggestions to do effective PR promoting fluoride as a dental treatment. So his presence by Mullenix’s side, all those years later, was quite possibly as an agent assigned to keep track of her efforts.

Getting the idea here? Build an A-bomb. Forget the toxic fluoride consequences. Bury the fluoride studies. Twist the studies.

More on Hodge. In 1944, “a severe pollution incident” occurred in New Jersey, near the Du Pont plant in Deepwater where the company was trying to build the first A-bomb. A fluoride incident. Farmers’ peach and tomato crops were destroyed. Horses and cows became crippled. Some cows had to graze on their bellies. Tomato crops (normally sold to the Campbell company for soups) were contaminated with fluorides.

The people of the Manhattan Project were terrified of lawsuits and ensuing revelations about the toxic nature of their work. A heads-up memo was written on the subject. Its author? Harold Hodge. Among other issues, he reported on the huge fluoride content in vegetables growing in the polluted area.

Also the high fluoride levels in human blood.

The farmers began to bring lawsuits. Big PR problem.

The lawsuits were settled quietly, for pittances.

Harold Hodge wrote another memo. Get this quote: “Would there be any use in making attempts to counteract the local fear of fluoride on the part of residents [near the A-bomb facility]…through lectures on F [fluoride] toxicology and perhaps the usefulness of F in tooth health?”

Griffiths/Bryson write: “Such lectures were indeed given, not only to New Jersey citizens but to the rest of the nation throughout the Cold War.”

This was a launching pad for fluorides as “successful dental treatments.”

In the film, Dr. Strangelove, Brigadier General Jack D. Ripper rails about the destruction fluorides are wreaking on the “pure blood of pure Americans.” Of course, this character is fleshed out as some kind of far-right-wing fanatic. How odd that he and other military men in the movie are, in fact, ready and willing to start a nuclear war. Odd because, unknown to the Strangelove script writer, fluorides were, in fact, very toxic and were an integral part of the very program that created atomic bombs.

Now you know why promoting toxic fluorides as a dental treatment was so important to government officials.

Jon Rappoport

Beyond all structures

Jun23

Beyond all structures

by Jon Rappoport

June 23, 2014

www.nomorefakenews.com

We are fascinated with structures and systems because they work, and because some of us feel an aesthetic attraction to them.

They work until you want to do something different.

Many people want to grab a structure and pull it around them and sit there like a bird in a cage. They want to go from A to B to C and feel the satisfaction of knowing it works every time.

Nothing wrong with that. Nothing wrong at all.

But go into a corporation and say you want to teach them creativity and they’ll say, “What’s the system?”

Once, at a party, I told a personnel chief at a company, “The system is to stand on your head.”

“Literally?” he said.

“No. That would be too easy. People would find a system for that. But figuratively, that’s what you want to get people to do.”

He scratched his head.

“I don’t know what you’re talking about,” he said.

“Exactly,” I said. “That’s where we start. I say something and you don’t understand. Then we have a chance.”

“What are you?” he said. “Some kind of Zen teacher?”

“No,” I said. “If I said I was, you’d pigeonhole me. I teach non-systems.”

He laughed in an uncomfortable way.

“We don’t operate on non-systems at the company.”

“No, but if you let three or four people do that, they might come up with a product you never dreamed of.”

That he could understand. Vaguely.

Here’s how things work at some companies. The second-tier honchos decide it’s time for a new product. They call in the chief of production and ask him what could be done. He suggests a whiz-it 4, which is basically a whiz-it 3 with a few more bells and whistles.

The honchos give him the green light, and he goes to work. He triggers the structure he already has. He gets underlings to make sketches of whiz 4, and with those he assigns compartmentalized tasks to various departments under him. The timetable is eighteen months.

He appoints a project supervisor to oversee the whole thing.

The project supervisor pretty much knows what’s going to happen. The six departments in charge of bringing in the whiz 4 on time will do okay—except one key department will fail miserably, because three guys in that dept. are lazy. They find ways to delay operations. They ask meaningless questions. They let work pile up on their desks. They meddle in other people’s business.

Twelve times, the production supervisor has tried to get these idiots fired. No go.

So everybody settles down to grind of bringing in whiz 4 on time.

Structure.

Manuals, rules and regs.

This can make magic the way an ant can fly to the moon.

So long ago it was in another life, I taught private school in New York. There were six kids in my class, all boys. I was supposed to teach them math. They were all at different levels. They had no ambition to learn math. No matter what I did, they performed miserably. Add, subtract, multiply, divide, decimals, fractions—it didn’t matter. If they managed to learn something on Monday, they forgot it by Tuesday. It was rather extraordinary.

So I took them to an art museum one morning. They were as lost there as they were in the classroom. But I wasn’t. That was the key. I was already painting in a little studio downtown, and I was on fire.

So I began to talk about the paintings. The Raphael, the Vermeer, the Rembrandt. The De Kooning, the Pollock, the Gorky. I had no plan, no idea. I just talked about what they could see if they looked.

And then we walked back to school and I set them up with paints and paper and brushes and told them to go to work. I said I didn’t care what they painted. Just have a good time. Do something you like.

All of a sudden, they weren’t making trouble. They were painting. No more whining and complaining.

I walked around and watched them go at it. I pointed to this or that area and mentioned what I liked.

There was no way to measure or quantify or systematize what the kids were doing that day, but they were coming alive, out of their sloth and resentment.

Then we got back to math, and it was as if they’d all experienced an upward shift in IQ.

That night, back in my studio, I made a note in my notebook. It went something like this: Give them a non-structure, and then follow that with logic; it works.

So that was that.

There used to be something in this culture called improvisation. People understood what it was, even if they wouldn’t do it themselves. Now the word has almost vanished. Same with the word spontaneity. The moment when eye, mind, and brush meet canvas. When mind meets the new. When the inventor suddenly gets up from his chair and trots over to his workbench and starts putting pieces together.

This becomes magic because imagination jumps into the fray. The urge to invent takes the foreground.

The trouble with all these imported Asian spiritual systems now is that they have a long and distinguished history, and the history tends to infiltrate everything that’s happening. It’s venerated. You need a clean slate, a wide open space. You need Now.

You need Now, which is dry tinder to the spark of imagination.

Magic isn’t really a return to the mystical past. Alchemy was what people did in the Middle Ages to give themselves a Now, on which they could inject the flame of their imagination.

At its highest levels, it wasn’t a system. Not really.

But if you have enough history at your back and you stand away far enough, everything looks like pattern and structure and system. That’s the illusion. That’s the deception.

Systems allow people to see and also make them blind. If they can’t fold an event into a structure, then for them it isn’t there. This is very interesting. This is where all the myths of Hermes (aka Mercury) sprang from. He was the figure who flew and passed through walls and had no barriers in the space-time continuum—the tin can we call universe. So people pretended, at a deep level, that they were unable to comprehend him. He was invisible to them. He was a trickster. He toppled idols of the hidebound, rule-bound, system-bound society.

Mythologically, he ranked very high in the pantheon of the gods. There really was no reason he couldn’t be considered the king of the Olympians.

But he didn’t want the throne or the lineage. That was just another structure, erected by his god-colleagues, who were bored out of their minds and desperately needed the entertainment and distraction it could provide.

Hermes lived deep in the fire of his own imagination and speed and improvisation and spontaneous action.

He didn’t need metaphysics or cosmology. He already embodied them, and much, much more.

To him, the notion of shared, consonant, and brick-by-brick reality as the longed-for ultimate goal became an enormous joke.

The word “art,” across the full range of its meanings, is what happens when, from a platform of structure, a person takes off and discovers that consciousness doesn’t particularly want to wait around a railroad station looking at What Is forever. Consciousness wants to invent what isn’t there.

So it does.

Jon Rappoport

Inside the FDA Mafia

Jun22

Inside the FDA Mafia

by Jon Rappoport

June 22, 2014

www.nomorefakenews.com

I post this piece now and then to show how personal things can get inside a terminally corrupt government agency.

It’s not all about remote decisions made from a great height.

These decisions can come about through the rank intimidation the Mafia exercises with a member who wants to leave the mob and go straight.

As in: “We know where your wife and kids are.”

This article is based on a Truthout interview of a man who did drug reviews for the FDA. He examined applications to approve new medical drugs for public consumption.

Pharmaceutical companies must have their new drugs certified as safe and effective before they can enter the market, before doctors can prescribe them. The FDA does this certification. Thumbs up or thumbs down. The drug is okay or it isn’t.

Here’s the story:

In a stunning interview with Truthout’s Martha Rosenberg, former FDA drug reviewer, Ronald Kavanagh, exposes the FDA as a relentless criminal mafia protecting its client, Big Pharma, with a host of mob strategies.

Kavanagh: “…widespread racketeering, including witness tampering and witness retaliation.”

“I was threatened with prison.”

“One [FDA] manager threatened my children…I was afraid that I could be killed for talking to Congress and criminal investigators.”

Kavanagh reviewed new drug applications made to the FDA by pharmaceutical companies. He was one of the holdouts at the Agency who insisted that the drugs had to be safe and effective before being released to the public.

But honest appraisal wasn’t part of the FDA culture, and Kavanagh swam against the tide, until he realized his life and the life of his children were on the line.

What was his secret task at the FDA? “Drug reviewers were clearly told not to question drug companies and that our job was to approve drugs.” In other words, rubber stamp them. Say the drugs were safe and effective when they were not.

Kavanagh’s revelations are astonishing. He recalls a meeting where a drug-company representative flat-out stated that his company had paid the FDA for a new-drug approval. Paid for it. As in bribe.

He remarks that the drug pyridostigmine, given to US troops to prevent the later effects of nerve gas, “actually increased the lethality” of certain nerve agents.

Kavanagh recalls being given records of safety data on a drug—and then his bosses told him which sections not to read. Obviously, they knew the drug was dangerous and they knew exactly where, in the reports, that fact would be revealed.

We are not dealing with isolated incidents of cheating and lying. We are not dealing with a few isolated bought-off FDA employees. The situation at the FDA isn’t correctable with a few firings. This is an ongoing criminal enterprise, and any government official, serving in any capacity, who has become aware of it and has not taken action, is an accessory to mass poisoning of the population.

Fourteen years ago, the cat was let out of the bag. Dr. Barbara Starfield, writing in the Journal of the American Medical Association, on July 26, 2000, in a review titled, “Is US health really the best in the world,” exposed the fact that FDA-approved medical drugs kill 106,000 Americans per year.

In interviewing her, I discovered that she had never been approached by any federal agency to help remedy this tragedy. Nor had the federal government taken any steps on its own to stop the dying.

Ronald Kavanagh’s story, exposed in Truthout, never jumped the rails and made it into the mainstream press as the explosive revelation it was.

Too hot to handle. Too many bodies buried. Too many media outlets bought off by pharmaceutical advertising money. Too close to bought-off government officials. Too likely to shake the pillars of the medical cartel. Too real.

It was the kind of story that could actually wake people up from their mind-controlled slumber.

It still is.

Jon Rappoport

Exit From The Matrix: introduction

Jun20

Intro: Exit From The Matrix

by Jon Rappoport

June 20, 2014

www.nomorefakenews.com

My mega-collection, titled EXIT FROM THE MATRIX, is at the core of everything I’ve been doing, pursuing, researching, and writing about for the past several decades.

It’s ultimately why I’ve been sitting down at my computer and writing every day since I started NoMoreFakeNews.com in 2001.

For the past 12 years, among all my other articles, I’ve been writing about individual creative power.

The power to create new reality, new future, on a personal level, on any level, wherever innovation can change a status quo which is unsatisfying and limiting.

I’m referring to people’s lives, their work, careers, relationships, social and political conditions…from the most private concerns all the way to the future of the planet.

EXIT FROM THE MATRIX is the realization of a goal I’ve been pursuing for a very long time.

It’s intensely practical. It contains more than 50 new exercises and techniques aimed at expanding the power, range, and scope of creative power—along with very simple instructions on how to use these exercises.

Imagination is the buried key that unlocks the door that exits from the Matrix.

This collection also contains a presentation of the vital philosophy that underpins the limitless power of the individual. This is more than theory. It’s a guide to exiting from the Matrix.

From what is in EXIT FROM THE MATRIX, from the huge amount of material, I think you’ll see I’ve made no short cuts. In fact, I’ve done everything possible to go the extra mile.

So let’s get to the details. Here is the list of my brand new audio presentations:

* INTRODUCTION: HOW TO USE THE MATERIALS IN EXIT FROM THE MATRIX

* EXIT FROM THE MATRIX

* 50 IMAGINATION EXERCISES

* FURTHER IMAGINATION EXERCISES

* ANESTHESIA, BOREDOM, EXCITEMENT, ECSTASY

* ANCIENT TIBET AND THE UNIVERSE AS A PRODUCT OF MIND

* YOU THE INVENTOR, MINDSET, AND FREEDOM FROM “THE EXISTENCE PROGRAM”

* PARANORMAL EXPERIMENTS AND EXERCISES

* CHILDREN AND IMAGINATION

* THE CREATIVE LIFE AND THE MATRIX/IMAGINATION

* PICTURES OF REALITY AND ESCAPE VELOCITY FROM THE MATRIX

* THIS WOULD BE A VERY DIFFERENT FUTURE

* MODERN ZEN

* THE GREAT PASSIONS AND THE GREAT ANDRIODS

Then you will receive the following audio seminars I have previously done:

* Mind Control, Mind Freedom

* The Transformations

* Desire, Manifestation and Fulfillment

* Altered States, Consciousness, and Magic

* Beyond Structures

* The Mystery and Magic of Dialogue

* The Voyage of Merlin

* Modern Alchemy and Imagination

* Imagination and Spiritual Enlightenment

* Dissolving Stress

* The Paranormal Project

* Zen Painting for Everyone Now

* Past Lives, Archetypes, and Hidden Sources of Human Energy

* Expression of Self

* Imagination Exercises for a Lifetime

* Old Planet, New Planet, New Mind

* The Era of Magic Returns

* Your Power Revealed

* Universes Without End

* Relationships

* Building a Business for Success

I have included an additional bonus section:

* My book, The Secret Behind Secret Societies (pdf document)

* My book, The Ownership of All Life (pdf document)

* A long excerpt from my briefly published book, Full Power (pdf document)

* My 24 articles in the series, “Coaching the Coaches” (pdf document)
And these audio seminars:

* The Role of Medical Drugs in Human Illness

* Longevity One: The Mind-Body Connection

* Longevity Two: The Nutritional Factors

(All the audio presentations are mp3 files and the documents and books are pdf files. You download the files upon purchase. There is no physical ship.)

What has been called The Matrix is a series of layers. These layers compose what we call Reality. Reality is not merely the consensus people accept in their daily lives. It is also a personal and individual conception of limits. It is a perception that these limits are somehow built into existence. But this is not true.

What I’ve done here is remove the lid on those perceived limits. This isn’t an intellectual undertaking. It’s a way to open up space and step on to a new road.

That road travels to more and more creative power, joy, and fulfillment.

During that great adventure, the individual experiences what has been labeled “paranormal” and “synchronistic” and “magical.” These words really don’t do us justice. They only hint at what we are and what we can do.

I put this collection together because it expresses, explains, and shows, in detail, how the individual can rediscover and reclaim his/her true power.

That process, that engagement, that life is beyond solving problems. Our problems, at the core, exist only because we have “misplaced an infinity.”

Everything I’ve done and written in the past 20 years has been aimed, one way or another, at bringing back that infinity, seeing through the layers of disguise, and moving ahead on the sunlit road we all desire.

We have, each one of us, an infinite life, lived in a world that is convinced it is bounded.

It’s time we dissolved that false contradiction.

Jon Rappoport

Jon Rappoport's Blog

NoMoreFakeNews.com

Monthly Archives: June 2014

Rappoport interviews dead Tesla

Power Outside The Matrix: what it means

Logic, imagination, and magic

How many covert ops can dance on the head of a pin?

One day in 1913, Woodrow Wilson had a shocking thought

Secret Space

Fluorides, the Atomic bomb, and a spy

Beyond all structures

Inside the FDA Mafia

Exit From The Matrix: introduction