WE ARE THE 99%

OCTOBER 5, 2011. As this movement spreads, perhaps the amorphous reasons people are giving for it will coalesce and become clear. Meanwhile, it seems appropriate to at least point out a few underlying facts about Wall Street, since that’s where it began, with a few college students camping out there.

Wall Street is, as most people know, the home of the stock market, which is a game favored by a whole load of people who want to make their money make money.

No one forces all these people to sink their $$ into stocks. They can get in, they can get out, they can abstain altogether.

The myriad companies that issue stock usually come to understand that the price of that stock, over time, doesn’t necessarily reflect the companies’ performance. There’s a fairy tale that states it does, but smart people don’t believe it.

Investing in stocks is a crapshoot, and it’s best to be the house, taking your little cut on every buy and sell order.

So if these protesters think the investment houses are greedy and nasty, they should suggest a boycott.

DON’T BUY STOCKS. IT’S A CON.

STOCK INVESTING IS A JOKE.

IDIOTS TRY TO MAKE MONEY IN THE STOCK MARKET.

WALL STREET IS VEGAS WITH BRANDY AND CIGARS.

THE MARKET REBOUNDED BECAUSE MY DOG TOOK A CRAP.

WHO MANIPULATES STOCK PRICES?

STOCKS ARE A RIGGED GAME.

YOU’RE NOT A BIG SHOT BECAUSE YOU BUY STOCKS.

THE RAT PACK DAYS ARE OVER.

BUY A STOCK, JUMP OFF A CLIFF.

BOYCOTT THE STOCK MARKET.

Something like that. You know, nicely printed big signs.

Of course, the unions who are now joining in on the protests might feel a nervous twinge at a few thousand signs like this appearing on the nightly news, because the hustlers who run their pension funds are presumably investing in the stock market.

So are governments at all levels. So are the colleges these kids attend.

The stock market makes Vegas look like a guy on a streetcorner with a little table and three shells.

Trying to regulate what kinds of investments the brokerage houses can offer—in order to avoid another 2008 meltdown, for example—stands a very small chance of success, in the long run. And if a sucker is born every minute, people will continue to pour their $$ into the market. Unless they come to realize it’s a game, like slots or craps or video poker or roulette or the racetrack.

Since this we-are-99% thing is a long shot to begin with, and stands every chance of being co-opted quite soon, if it hasn’t happened already, why not roll the dice on letting people know what the stock market is all about? Why not, as awful as it sounds, tell the truth?

I don’t want to be the guy who ruins the party, who walks into the room with a keg of non-alcoholic beer, but hey, it seems clear that if lots and lots of people just stop investing in the market, the greedheads who make their money on the commissions from such idiocy will incur a serious amount of trouble.

Or would you like the upper 1% of the wealthiest Americans to pay 2% more in taxes than they are paying now—after some watered down bill squeezes through Congress? Will that usher in Utopia for all?

If “free market” means anything anymore, it certainly means people can invest or not invest. The root of Wall Street derives, in large part, from the fact that it is fueled by millions of people and institutions that buy stocks. That’s where the money comes from.

So I know this sounds crazy but—WITHDRAW THE MONEY.

If the guy who comes to your house to sell you magazines is pushing something you don’t want, tell him no thanks and go back to the dinner table.

“What are you in these days, Bob?”

“I’m in GE, Fred.”

No you’re not. You’re in a casino, potato head. You’re taking the Jets minus 3 against the Giants.

Let’s see some real signs showing up on Wall Street and on the nightly news. Let’s see Brian Williams explain INVESTING IN STOCKS IS FOR PROBLEM GAMBLERS.

Hey, set up an 800 line for “people who can’t quit the market.” I’ll take my turn at the phones.

“Sir, first of all, buying stocks is like shaking the dice at the Mirage. You don’t know what you’re doing, and your broker doesn’t care. He’s taking his cut whether you win or lose. Get it? Forget about that fat guy in the baseball cap. Just take your money out…”

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

NEW FEELINGS

OCTOBER 4, 2011. After enough years of experiencing the same path of emotions, people begin to tire. They’ve been through it before, many times.

It’s as if they’re acting roles in a very long-running play. Every day, they’re back on the boards, speaking the same lines, feeling the same feelings.

If they could just switch roles with the other cast members, something new and fresh might happen. But rules seem to prevent this.

We define degree of life by the emotions we have. When we’re satisfied, exhilarated, we’re alive.

In “real life,” we limit our range of emotion, because feelings imply and propel action, and we have principles about what actions we’re willing to take. Therefore, we try to be content with what we feel, over and over.

But on stage, in a play, everything is different. No emotion is impossible, because the action-consequences remain on the stage. The stage is where we can learn new lessons, make new moves, expand our minds and souls. And then there will be a carryover into life off the stage.

Who can say where and when theater was first invented? Apparently, the first free and open theater emerged in ancient Greece. In fact, in those tragedies and comedies, local citizens were recruited to play roles in plays by celebrated authors.

And “the carryover” from stage to real life? It isn’t so much about what the person is willing to do now in his life he was afraid of doing before—it’s about how expanded his range of feeling is as a result of his experiences playing roles on stage. It’s, say, the difference between waking up in the morning with a heavy sensation and jumping out of bed with a fierce joy…

The difference between not feeling alive and feeling alive.

In starting the Magic Theater, this was on my mind.

All roles have a potential range of feeling utilized to express them, act them out—and by improvising these roles, we light up deadened areas of walled-off emotion and energy, and we rejuvenate and embody possibility. First-hand.

I know people, for example, who would love to play, to improvise the role of a dictator. They don’t do it real life, of course. They would never do it in real life. But in dialogue, yes. They would jump at the chance to embody those feelings and express them. And then?

When they “return to real life,” they feel no compulsion to become a dictator. They feel the power of those emotions, and they can transmute and channel that energy into what they truly want to do.

Every possible role contains real emotion—and it is the confusion between real life and “stage life” that keeps people from experiencing most of these emotions. They are afraid to be what they want to be: ACTORS.

We are all actors. We all have the capacity. We all understand, below the every-day level of discourse, that we can act. And we want to.

But, as I’ve said before, where is the venue?

That’s why I created the Magic Theater. This isn’t a repertory company, or a school for training professionals. It isn’t therapy. It isn’t rehearsal. It’s a way of being and feeling alive.

Furthermore, there are paired roles that can lock up each other in a kind of mutually canceled energy and emotion: dictator and victim; king and slave; parent and child; God and seeker…

When two people improvise these paired roles with each other—and then switch parts—new energy and emotion are liberated.

Eventually, daily life begins to look like a pale imitation of the Magic Theater. Fortunately, we all want to live, so we transport our experiences from the Theater back into life and inject it with new feelings. What seemed dead is now alive.

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

To inquire about the first Magic Theater workshop on December 10-11, email me.

SOMETHING ROTTEN IN WHEREVER

OCTOBER 3, 2011. I realize there’s a glaring omission in my work. Not enough PROPHECY.

How could I have overlooked that? The Prophecy market and the Prophecy dollar are always strong.

So at least here’s a start–

“When government airport employees X-ray and hold the genitalia of every person living in America at least once, a critical mass will be reached, and we will automatically enter a New Age.”

“In order to achieve new levels of equality, by May 9, 2016, all across America, at children’s sports events, we will see neighborhood militias, sporting Uzis, shotguns, Stingers, rocket launchers, and sleep-gas blasters, removing star players from both sides, off the fields of play, to be shipped to deep-pit copper mines in Chile.”

“When advertising gurus considered how to advertise toilet paper on television, they were stymied until they came up with the bear. The bear works. Somewhere deep in the consciousness of the human being, there may be an image of a bear using toilet paper. Not a lion, a leopard, or an elephant. First the bear was a lovable doll for children. Then it became an assurance we could prevent widespread fires. Now it is the symbolic essence of toilet paper. When the human race finally accepts One Universal Religion for All and thus achieves a peace that passes all understanding, the Bear will be its Prophet. A confirming inscription will be discovered inside a Mayan pyramid at Legoland.”

“Every village in Afghanistan will be equipped with wifi, Lithium, Zoloft, and a fleet of Escalades, and each resident will receive a check for ten thousand dollars a month. A few hundred million US citizens will emigrate to Afghanistan for the benefits, leaving America to Eskimos coming down from the Arctic Circle, where Al Gore and his minions are busy melting ice caps with heat lasers.”

“On March 12, 2012, it will be revealed that Mitt Romney and Rick Perry are the same person. The animating spirit behind him is the collective known as the Democratic National Committee.”

“At a campaign fundraiser for Obama, the well-heeled crowd will watch a video of the president sinking a forty-foot putt on the tenth hole at Pebble Beach and fall to their knees, and Al Sharpton will announce he is the chairman of the Bilderberg Group.”

“The next president of the United States, Chris Christie, will announce, on his first day in office, that he is undertaking a weight-loss program. All major television networks will maintain a graphic of the president’s day-to-day progress, throughout his four years in the White House, and if he sheds at least 80 pounds by November of 2016, he will be swept into office for a second term.”

“On June 3, 2019, Bill Clinton and Monica Lewinsky will be married in a ceremony at Jon Stewart’s apartment in New York. She will wear “the dress,” and he will play forty-seven choruses of the theme from Picnic, after which they will both declare bankruptcy.”

“On September 14, 2017, the FDA will approve a drug that, within six days, causes pancreatic cancer in otherwise healthy individuals. FDA Commissioner Rick Perry will announce, ‘The idea here is to insert this drug in water supplies and force immediate treatment of every American adult and child with radiation, chemo, and surgery. This is the true meaning of prevention.’ On the same day, the American Psychiatric Association and the Department of Homeland Security will release a joint statement declaring all forms of a mental disorder called Non-Androidism to be a threat to national security. In honor of former DHS head, Janet Napolitano, a ceremony at the White House will re-affirm her famous epistemological imperative: Say Something, See Something.”

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

A BREAKTHROUGH ARTIST

RICK DUBOV

OCTOBER 3, 2011. Listeners to my radio show have heard me interview Rick Dubov, my friend of many years. Rick is truly an extraordinary painter.

I’m not writing this, however, to extol his technical skills, but because his work evokes such deep echoes.

Last year, my team and I shot video of Rick’s paintings, and I was astonished when I saw so much of his work in one place for the first time. The faces in his paintings and drawings truly are “a family,” as Rick calls them. They resonate with one another—leaving the impression they have sprung from many times and places to gather together, here and now. Fathers, mothers, sisters, brothers, far-flung cousins—from all walks of life.

These times and places from which they’ve traveled are not all of this Earth. Some of the faces float in from other dimensions, and seem to have been at the edge of our consciousness for a long while.

The more I look at them, the more I recognize them. I begin to fill in stories about them.

Well, Rick has just launched a new project with far-reaching implications. He is now doing, on commission, what could be called “psychic portraits.” I’ll let Rick describe this wonderful enterprise:

“Have you ever imagined just leaving the studio of Diego Velasquez in 1656, in the court of Philip the Fourth of Spain, and walking into a brilliant sunny day…and then you find yourself in a brisk autumn day in Cubist Paris in 1911?…and then you find yourself in an as yet unnamed future space and time? All these and billions of other

spaces and times are of one piece. It is out of this fertile territory that all of my paintings come.

“Now can you imagine yourself making such voyages simply by looking at a commissioned portrait of yourself? You are recognizable in the portrait, but it has the marks of extraordinary places you have gone to.

“So now I formally announce the launch of my commissioned portrait series. These commissioned portraits are the painted version of what Jon calls the Magic Theater. People send me photos of themselves, preferably from mid-chest up to the head, and from the deepest pools of my imagination, I perform a kind of alchemy where YOU are placed in a beautiful space where, as you look at your portrait, you can shuttle back and forth between any space and time in which you wish to unleash your imagination.

“I refer to all the characters which I have created out of my imagination, and which you will see on my blogsite, as the “family.” The family is a code word for eternal human archetypes which have created endless variations of individual people. I view this project as endless, with as yet unforeseen and surprising results

“I hope you can come on board.

“The commissioned portraits are 11″x14″, painted in oil on either water color paper or canvas board. People have requested larger ones, so that is also an option also. They are very affordable. Check out my website and please contact me. You can view my work,

and contact me about details concerning the commissioned portraits.”

http://rickdubov.blogspot.com

I hope you’ll visit Rick’s site and explore his work and consider commissioning a portrait.

Jon Rappoport

www.nomorefakenews.com

INTO THE FUTURE

“The universe speaks to God, and God speaks to the universe. A table speaks to a tiger. A quantum of energy speaks to his brother a hundred light years away. A beggar speaks with a president—and then they switch roles. The gold rush of 1849 speaks to the first human journey beyond this solar system. The lowly ant and a mighty galaxy hold a conversation. All this happens in the Magic Theater, because human beings improvise the roles. And therefore, things change.”

Jon Rappoport, Magic Theater Foundations

SEPTEMBER 30, 2011. It should be apparent from the above quote that, in the Magic Theater, there is no Final Voice. No authority spouting the last word. There is no “this is the ultimate structure.” No prophetic painting of the way things must be. No expert who imposes his superior knowledge.

Actually, in the Magic Theater, there is room for all of the above—as roles people play. They can be Final Voice and authority and conveyor of the ultimate structure and painter who reveals exactly how things will be and famous expert—among a billion other roles.

In dialogue with each other. Improvised dialogue.

This changes reality.

The notion of universe and cosmos presenting us with What Finally Exists is revealed as a short-run stage play that should have closed down before it began.

I started the Magic Theater to topple false thrones of knowledge in favor of unlimited imagination.

All groups, societies, and civilizations eventually prefer canned ideas that no longer have life. Unseating this massive habit begins with people stepping outside their normal and average points of view and taking on roles that ask for something new, something unpredictable.

At which point, what is impossible becomes eminently possible. And so our perception undergoes a shift.

Perhaps we will eventually learn that the lowly ant has something to say. And the bumblebee, too, and the snake that crawls on his belly, and the hummingbird and all the creatures that mysteriously populate the Earth. Maybe at one time they had empires we know nothing about.

Can a star sitting in the dark sky talk to us? Can whole galaxies engage in discourse?

Well here and now, we can enact their roles, and unleash our imaginations, without which we will never know the overwhelming majority of happenings in the universe, because imagination opens our eyes.

How many gods have been painted and carved and worshiped since the beginning of Earth time? We can play them all. We can speak with their voices and have them confer with one other. We can set up any god and have him talk with a coal miner or a shoe salesman or a secretary or a domehead professor of religious studies. We can take the gods to task for failing to provide the bounty they apparently hoard in secret places, and see what they have to say in reply.

We can open a dialogue with Mystery itself in the abstract. We can enact the role of the forces of nature in progress.

All this can happen without sets, lights, props, scripts, directors, rehearsals, or the money men who launch lavish productions. We simply begin. We improvise. There are no tests for reliability, no comparisons to a prior template.

We say we want entertainment, we sit numbly and watch television until we fall asleep under the weight of programs made for androids and idiots, but here is entertainment we can fashion ourselves out of nothing, with profound alchemical consequences.

Why watch a slick, fast-moving treatise on ancient Egypt, when we could actually play the gods and priests and priestesses and pyramids and, yes, the mighty Sphinx with the fractured face. I think it likely, in that way, we will approach more closely the actual spirit of long-ago time—and if not, we’ll certainly reveal and express our own spirit. Not a bad trade-off. “You speak as the high priest and I’ll speak as the slave, and then we’ll switch.”

What do you want to play today? The silver phantom who passes through walls and can make the trip from here to Orion in five seconds? Fine. I’ll be a microbe working with the tiniest roots of a tree to produce the subtle flavors of a plum.

No boundaries, no limits, no thing too large or small.

Real theater.

It comes down to this. This society is built on fear of embarrassment. “Well, if I pretended I was anything other than what I am, I would feel like a fool. My friends would say I was crazy.”

Yes, exactly. And if you are satisfied with the central role you’re playing out in life, all the way to the end, then fine. Stay with it. Good luck.

But if you’ve sensed that something is rotten in Denmark, that our civilization is largely built on conventional roles people fit themselves into, and that this sort of doleful theater can be greatly expanded, into a high adventure, as a modern alchemy of consciousness, then recognize there are no limits on what parts can be played or what dialogues can be improvised, in a true theater of imagination.

And for all those students who have been trying to discover the far shore of enlightenment, illumination, I can tell you this. Inhabiting and speaking from the role of The Already Enlightened to, say, The Embattled Seeker, for an hour or two—and then exchanging places—will offer the kind of revelation that is not on the path you walk.

Somewhere in our subconscious, we tend to believe there is another role, a single role which, if we could take it on, would make us happier, more alive. I’m suggesting there is something beyond that which we haven’t considered. I’m suggesting the whole notion of wanting that One Other Role which seems out of reach is a clue to more, much more: if we play out, in a live theater of imagination, MANY other roles, we crack the egg of our present lives and find ourselves in new spaces, with new energies, and a freedom that was always ours to have.

Jon Rappoport

www.nomorefakenews.com

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