The realist vs. the artist

by Jon Rappoport

April 8, 2021

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“All human accomplishment has the same origin, identically. Imagination is a force of nature. Is this not enough to make a person full of ecstasy? Imagination, imagination, imagination. It converts to actual. It sustains, it alters, it redeems!” (Saul Bellow, Henderson the Rain King)

“Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.” (Albert Einstein)

—You say reality is invented. I say it’s THERE already, and we have to deal with it.

What does “deal with it” mean?

Accept it.

What do you do after that?

Not my concern. Outside my realm of control.

You’re denying you can create something better than reality.

What do YOU do? You just write plays and put characters on a stage. It’s fake reality.

I should just take a camera out into the street and shoot what’s in front of me? That’s my limit? You think consciousness is a steady-state THING. It’s dynamic and alive. No matter how high you go, there’s always something more. Something new that can be created. There is no final state of consciousness.

Consciousness is: what I see. It’s what I think and react to, when I see what I see. That’s all.

So you have no choice. You’re in prison.

I didn’t say that.

That’s what you mean. —But imagination is the key that unlocks the prison cell.

Really? I say there’s no such thing as imagination. It’s a reconstruction of what already exists. You rearrange pieces. Realism makes sense. Everything else is fluff.

Translation: you accept What Is. You might complain, but you accept. You end up creating nothing.

What happens to the characters in one of your plays? They all have limits. Each consciousness is limited. They’re chess pieces on a board.

That’s what you see when you sit and watch a stage play?

What else is there to see?

Life. A different kind of life.

I doubt that. On one end, you have a very imperfect person. He’s making all the mistakes he can possibly make, and he damages his own life. On the other end, you have a perfect person, however you want to define that. And that’s what he is. Perfect. And so what?

Again, you think consciousness is a given—“it is what it is.” It doesn’t change. At best, it just solves problems. I see a stage play as a different universe. It sends clues to the audience. “Reality isn’t fixed.” “Look what can be done to reality.”

No. We’re all in this reality called Life on Earth. That’s what we’ve got. We have to deal with it in the best way we can.

So according to you, all the artists who’ve ever lived were just amusing themselves, distracting themselves.

Pretty much, yes.

And all the mystics who’ve ever had visions were just deluded.


Reality is something that’s stamped on all our minds.


What happens when you change your mind, when you rebel against the stamp?

You find out you can’t move the mountain.

That’s your bottom line?

It’s everybody’s bottom line.

Or…you just lack the courage to make your best vision into fact in the world.

I don’t have a vision.

Why not?

I’m not built to have a vision.

How do you know that?

Through experience. I live, and live some more, and no vision shows up.

You have to imagine a vision.

Imagination is delusion.

You’re imagining yourself as you are, over and over. You’re constantly imagining an image of yourself as you think you are.

That’s an interesting statement, but I don’t believe it.

What would happen if you did believe it?

I’d be forced to go on a whole new voyage.


You want me to give up what I have, on the chance that if I go out into the sea, I’ll find something better.

Yes—something more ALIVE.

And what would that be?

I don’t know. It would be your vision.

You want me to throw caution to the wind.


That’s asking for a lot. In return for something highly doubtful.

Forget doubt. Doubt is easy.

I guess, if I have a vision, that’s what it is: Doubt.

What are you going to build on that foundation?

You want me to become a character in a play?

A larger character. Or the playwright.

Sounds like cheap pie in the sky.

You can’t build much on cheap pie in the sky. Or any cheap idea.

You think I’m being cheap.


I’m “writing a bad play called Reality.”


And there are better plays I could write.

Potentially, an infinite number.

The sky’s the limit?

Even the sky is a limit. If great, great sages are sitting there, in their illumined states of mind, sooner or later it occurs to them they can create something MORE. Buddha is sitting there, and one morning he says: I can create something more. And he does.

And in that scenario, if painters like Degas and Rembrandt and Piero della Francesca are still somewhere, painting, they’re going further than they’ve ever gone before.



Because they imagine more, they want to keep inventing. They want to see more.

Whereas I’m busy deciding whether to order a salami sandwich or a pastrami sandwich.


I’m getting tested twice a month and taking the vaccine.


I closed my store and went out of business because the governor said I had to.


I could reinvent my future as a “champion for freedom.” Or whatever.


Suppose I believe in God?


I don’t know.

I think you do know.

Imagining is just pretending.

If that’s the way you see it, then pretend.


Pretend you have a vision of what you really want to create. Pretend you’ve imagined it.


Yes. If you think imagining is lying, then lie. Lie to yourself that you have a vision of a better future. If you think imagining is making up illusions, then make up an illusion of a vision, and follow it no matter what.

And if I think I have no imagination, then imagine I DO?

Yes. Whatever it takes. Whatever it takes to overthrow your idea that realism is all you have. Break the chains.

Suppose I can’t?

That’s what you keep imagining: “I can’t.” That’s your vision: “I can’t.”

So out of nowhere, I should just overthrow reality?

Yes, and shove in all your chips on that move.

Why did you show up at my door?

That’s what I do.

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.

A hundred years in the future: the joy during the lockdown

by Jon Rappoport

September 25, 2020

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A dreamer dreams many things. In this case, he was merely walking from his living room to the kitchen, and a thought struck him, and he went AWAY for a few seconds, and a two-part dream laid itself out like a fresco…then folded up and disappeared. He shook his head and resumed walking to his kitchen to make coffee. Crazy, he thought. Where did THAT come from? He looked at his watch. Another day in lockdown.


On May 14, 2266, the New England Journal of Medicine and Psychology published a paper titled:


A quote: “Brain research discovers common patterns of activity across a whole population. These patterns would be called ‘normal’. Exceptions would be classified as various categories of ‘disordered thought’. It’s assumed that only ‘harmonious and symmetrical’ brain patterns are positive and beneficial.”

A reader commented: “This assumption is grossly false. It’s a stunted version of aesthetics. Creative force always breaks out of these little geometries. So does every new idea. Increasingly, Earth culture is unable to understand this.”

—The reader receives a government notice and is summoned to a hearing. He’s interviewed by a virtual AI employee of the federal Department of Stat Research.

HOLOGRAPHIC i-FIGURE: “Are you all right during this epidemic lockdown? I see you live alone.”

“Yes, I’m fine.”

“We want you to enjoy yourself. Are you watching learning programs?”


“Why not?”

“I don’t like them.”

“Well, we have a report on you. It indicates an output difficult to measure or interpret. What can you tell us about this?

“I don’t know. I’m composing a symphony.”

“A symphony? What is that?”

“It’s a piece of music written for a large orchestra.”

“I find no extant orchestras in the country.”

“That’s true. Nevertheless, I’m composing.”


“For that day when an orchestra may come into being again.”

“Your thought-impulses entered ranges we were not able to summarize.”

“I suppose that means your instruments are limited.”

“Your last statement is incendiary. It suggests we are imposing a restriction. As you well know, the science is settled on this point. We measure and interpret thought that contributes to an overall positive outcome, for the population at large.”

“I’m aware of that, yes. But the science rests on certain assumptions. I would call it greatest good as a lowest common denominator.”

“What do you mean?”

“You assume a certain mindset contributes to the consensus reality you favor. You legislate a range of thought that will produce the consensus.”

“That’s a gross oversimplification.”

“It doesn’t describe the algorithms you employ, but all in all I believe my summary is correct. You’re reality makers. You monitor thought-emissions, and when you find a departure from ‘combined averages,’ as you call them, you issue a citation.”

“What is this symphony you’re composing?”

“It’s impossible to explain. It’s music.”

“It has a specific message?”

“No. If it did, I would write out the message and leave it at that.”

“Why have we not heard of you before?”

“I was doing illustrations for the Happiness Holos.”

“What happened?”

“I became bored. A machine could make those pictures. So I decided to compose music.”

“The Happiness Holos are an essential social program.”

“Perhaps. They encourage people to stay on the positive side of a construct called Positive&Negative, which as you know is a State-sponsored theme. But what is superficially indicated by those two opposing sets is, in fact, fuel for the fire.”

“Fuel for what fire?”

“The artist can use and transform any material.”

“Where did you hear such a thing?”

“Nowhere. I’ve experienced it many times.”

“Your views are highly eccentric. I will have to consult your childhood history to understand their roots.”

“I’m afraid that won’t do you any good.”

“Why not?”

“Because your version, the US Department of Psychology version of cause and effect, is propaganda for the masses.”

“This is your idea of a joke?”

“Not at all.”

“When you compose this…symphony, how do you think?”

“It’s not thinking in the way you use the term.”

“No? Then what do you do?”

“I invent sound.”


“Large masses of sound.”

“Absurd. According to what underlying pattern?”

“None. Check the Library of Structures. I doubt you’ll find my activity in the catalogs.”

“Only known structures and patterns are contained in the files.”

“I don’t invent through pattern.”

“No? How then?”

“I improvise.”

“And this term refers to?”

“Something done spontaneously.”

“And you exceed prescribed ranges of thought in the process.”

“Perhaps. I would hope so. I don’t keep track.”

“You’re being flippant.”

“I assumed you’d eventually cite me. I’m just composing music during the lockdown.”

“There is no citation yet. You’re an anomaly. We investigate. We consider.”

“I’m afraid your and my idea of ‘consider’ are quite different.”

“Let me ask you this. When you are composing, do you ever believe you enter into a realm or area that could be called ‘non-material’? We’ve heard such claims before.”

“Not if you’re referring to some fairyland. But all thought is basically non-material. The brain registers it after the fact. Thought, the real thing, doesn’t take place in the brain.”

“You’re deluded. And disordered.”

“If I could simply confess to that and be on my way, I’d be a happy man.”

“You live in a society. To keep the peace and maintain the Positive, science has discovered that thought should occur within certain parameters.”

“If you insist.”

“We want to study you. It’s a great honor to be called. You could help extend the boundaries of research…we register variation from the norm in your present thinking.”

“What present thinking?”

“What you’re thinking right now.”

“That was quick.”

“The readouts are instantaneous…what are you doing?”

“I’m starting the fourth movement.”

“Wait. What you’re doing is disruptive.”

“It’s because of how you set your frequencies.”

All along the major esplanade, and in the lake area, and in the industrial parks and residential high rises, virtual structures shattered like glass.

The i-figure went dark.

A thousand holographic government buildings froze and vanished.

The composer said to no one, “I’m just composing. Well, apparently not just.”

—Back in his room at the edge of the city, he said, “I suppose that’s what they mean by a negative consequence.”

He sat down at his computer and turned it on. Before he went to the composing page, he had to click on a sunburst icon and read a government message for the day. It appeared:

“We want everyone to be happy during the lockdown. This is very important. Because much government function is being carried out by virtual assistants, we’ve encountered a disruption in service owing to a segment of Disorder entered into our Net. Please be patient. Repairs are underway. These are learning experiences for us. There is always a certain amount of disordered thought in the environment. Most of it is unintentional. We welcome the opportunity to study such examples. As a member of the educated class, we’re sure you can appreciate the research aspect of our work. Thank you for your patience. Food deliveries will be delayed by a factor of…two hours. Our latest figures indicate 2,147 new epidemic cases have been detected in your sector in the last 24 hours. Re-testing is underway. Please place your hand on the screen now…thank you. You may remove it. Just a moment…we’re unable to process your assay at this time. You’ll receive a message indicating your viral status as soon as the system is up and running again. End of message.”

The composer plugged a small module into the side of his computer. The screen went red. Black letters formed: DISEQUILIBRIUM. He pressed the send key.

The encrypted score of the first three movements of his symphony set out on a rapidly changing zig-zag journey to a series of caverns below cities in Belgium, Switzerland, Germany, Italy, America.

A program consisting of the synthesized instruments of a full orchestra read the score and began to broadcast the music to small groups of people sitting in the caverns…


In a government office, a Stat analyst read a note from his supervisor:

“The pandemic is having a positive effect on mass thought-patterns. We’re seeing a significant smoothing out of trends. With major focus on staying indoors, rapid testing, isolation, and official updates tuned to each population group, overall harmonization is expanding.”

“This gives us more time to focus on outliers and odd departures from the symmetrical norm. Attached you’ll find a story written by a man who has been living alone for the past 12 years. He’s a former scripter for the Department of Education series, ‘I Love School.’ He dropped out and began writing fiction. This in itself would be a red flag, but the content of his latest effort is quite problematical. Give it a read and send me your assessment.”

The analyst opened up the attachment, took several calming breaths, and dug in:

“You want to forget about the possibility that, buried under mind control, there is a very different human being? Suppose, for example, the psyche is equipped to see and use language itself in a way that’s foreign to us? Suppose this language sends signals to our endocrine systems, and our chemical and biological processes undergo a revolution?”

“Here is what an astronaut said in a closed room in Houston when he came back from a three-month voyage in space and emerged from his quarantine period. Here is what he told the men at the table.”

‘…You see it wasn’t just a planet. It was somewhere that made no sense at all. There were…things there, but I couldn’t identify them. I couldn’t put names to them. I thought it might be a puzzle. A game. So I just started walking. I don’t know how long I walked. You tell me I’ve been away for three months. All right. I can’t put any sort of time stamp on it. One thought came in on me, over and over again. I was in a different universe. And if it was organized, I couldn’t find the pattern. So for a very long time I rejected the whole place, the whole setup. That was my main experience. Because who would ever imagine being in a locale where things were so strange he couldn’t find a single word to convey them to anyone else? And then, finally, I remembered something from years ago. A play being performed by crazy actors. They spoke in a “language” no one had ever heard of. It went on for almost an hour. I felt very angry. A few minutes before the end, I was hit by lightning. I suddenly understood everything they were saying. I don’t know how. And I couldn’t translate it back into English. I just understood. It was a one-time experience. And that was what it was like, being in that universe. When I remembered this, I felt a shift. I knew where I was. I knew what was going on. I knew that universe. But I can’t sit here and tell you what it was. That seems impossible to you. But it’s true. I’m stymied. One thing I can say. Everything I once thought I knew about beauty…that’s gone out the window. I’ve realized there were certain rules embedded in my mind. Maybe principles. Principles of harmony, symmetry, balance. Organization. I was living according to those rules or principles all my life, in all my choices, and now they’re gone. They don’t exist anymore. When they evaporated, I was able to understand what that universe was. All at once. On the trip home, I started to draw. You’ve seen my “work.” You’ve looked at it, and you wonder whether you can use it to decipher what happened to me. But you can’t. I was just inventing out of a vacuum. A wonderful vacuum. I was working from nothing, a void. I’m not asking you to understand it. I don’t feel you need to. I just know I stumbled across something. I never wanted it or looked for it. You’ve told me the drawings mean nothing to you. That’s fine. I didn’t do them for you. All the vast telemetry we have? The codes and symbols and shorthand, the measurements? The markers and the baselines and the scans? I’m not interested in them anymore. I don’t have the slightest bit of interest.’

There was silence in the room.

“Sounds like you got religion,” one man said.

“I feel,” the astronaut said, “like a tiger who just walked out of the zoo.”

Security men stepped into the room. They had their hands on their holsters.

But the ops chief held up his hand.

“It’s all right,” he said. “We’re fine. This man found something. Let him go. No one will understand him. We’re protected. We’re all inside the protocol.”

There is the little-known work of philosopher/linguist Ernest Fenollosa, the author of The Chinese Written Character as a Medium of Poetry. Fenollosa analyzed modern Chinese words back to older pictographs that minimized nouns. Instead, these ancient pictographs, at one time, presented a view of reality that was far more dynamic and shifting, in which action was the main event. The subject and object of a sentence were themselves of lesser importance, and were related to one another by their mutual participation in that action. “To be” verbs—is, are, am—were just dead ducks. Irrelevant.

Suppose we had a language in which every noun was also a verb, in the sense that it threw off rays and curves and vectors of action and energy.

What would we have then?

We might, at the extreme, have an endless supply of dynamic universes. No potted plants.

We would be communicating with each other in a way that instantly gave birth to possibilities beyond current meanings embedded in our style of speaking and writing. The implications of each word of text would jump and leap. Instead of peeling off layers to get at the precise definition of a word, we would automatically be proliferating it.

Language, created by consciousness, also feeds back to it. And this feedback informs our way of viewing reality. The structure of language becomes, in a true sense, a monitor on what we can see and what we can’t see. What we can imagine and what we can’t imagine.

It’s as if a psychologist, running one of those old inkblot tests, told the patient: “Guess what? There’s nothing wrong with you. Forget all that nonsense. Look at these shapes and imagine anything you want to. Tell me what you invent. Then I’ll do the same. Pretty soon we’ll be speaking a different language, and we’ll levitate out of this worn-out reality…”

Let’s cut out middlemen.

Instead of the standard blots, print out all sorts of complex shapes on a page and say, OK BOYS, THIS IS A LOST LANGUAGE. FIGURE OUT WHAT IT MEANS. WORK ON IT.

Then if you can nudge or inspire or bribe people to do that, they will work for a few years believing there is really something there, something that is embedded in the shapes, and they’ll dig in and try to decode it. A few more years and they might throw in the towel and say, “The hell with this, let’s just make it up. Let’s say each shape means whatever we imagine it to mean, and each shape can change its meaning from minute to minute.”

Then they start writing to each other with these shapes and thousands of others they make up—and gradually, they forget about the notion that they might be crazy. After that, glimpses and glints begin to surface in their minds. They don’t know what they are, but they feel they’re de-conditioning themselves from any language they previously knew. They’re out in open water. Their operational concept of Understanding is undergoing a revolution.

They realize how tightly they clung to their old basic notion of Meaning.

They drop that. They discard it in the garbage, because they’re fascinated with the glints and glimpses they’re getting. They want more glimpses. They’re inventing this language with no rules and no assigned structure.

They’re experiencing sensations of flying and soaring. These sensations are feeding back into their body processes and into their minds. The hard wiring is giving way.

You could say they’re astronauts training for a mission in which they’ll encounter an intelligence that’s completely alien to Earth.

There are analogues to what I’m discussing here. For example, microtonal music. You tune a piano so that, altogether, 88 keys display the range of sounds contained within just one octave of a conventional piano. Going from the lowest note to the highest on the microtonal piano, you hear thin slices and gradations of notes that cover, all told, no more ground than one octave of a normal piano.

You sit at the microtonal piano and you play. And play. And play.

You listen to what you play.

At first, it’s repugnant. It’s not only dissonant, it’s absurdly muddy.

But after a few months of playing that piano every day, you begin to hear something. It comes through. And the sensations it brings might remind you of places you’ve been, experiences you’ve had. But they go further, into a void where new sensations and meanings you can’t name are possible, are happening. Are real. Eventually, super-real.

These sensations flood your endocrine system, and new proportions and sequences of hormones are produced. You experience feelings you’d forgotten or never had before.

The spectrum of feeling and thought expands.

Your whole notion of what you can experience and understand changes.

Your imagination is gearing up.

You never seriously considered there could be seven comprehensible sounds between any two keys on an ordinary piano. Now, you’re not only hearing them, they make sense. They convey emotion.

This would be like saying that, between each pair of words in a sentence, there are seven other words, and every one of them is an action verb.

When you understand that expanded and exploded sentence, you can talk to an alien from Parsec-12. He can talk to you.

After your first conversation, when you walk out of the facility where he’s under heavy guard, ride the elevator down to the parking lot, and drive through the gate, you look at the desert and you see things you never saw before.

You understand why magic was hard to do. It was all supposed to be taking place in a tight reality of unbreakable connections. Impossible. But now those connections have snapped. The landscape, any landscape, is much more inclusive and malleable.

You’re reminded things were this way once. And now processes in your body open up. There is a reason for them to change. They secrete information and energy that have been dormant for a long time. Dormant, because there was no use for them.

The cells in your nervous system wake up to a remarkable degree. They’ve been waiting for this moment. They turn off the perverted game show called Life they’ve been glued to for 40 years. They project rays in all directions. Your physical aliveness shifts up exponentially.

Through the walls of the holding facility behind you, you can see the alien. He’s nodding at you. Yes, he’s thinking. You’re on the right track.

—The stat analyst leaned back in his chair. He prepared to gather his thoughts so he could write a report for his supervisor.

The author of the very strange piece he’d just read was obviously insane. Anyone could understand that. But what could the government learn about outlier thought patterns from the piece? During the comfort of the lockdown, most people were settling in, trying to relax, turning off their stray ideas, looking for the Positive, as the authorities had urged. But this man, whoever he was, had gone in the opposite direction. Why? And why had he chosen language as his jumping-off point? He was trying to attack everything that was harmonious and repetitive.

The analyst remembered something from his own past. A novel he had read as a child. A sea adventure. A sailor had stepped off his ship at a distant port and walked along a road toward a range of hills. It was a summer afternoon.

The analyst remembered that as the sailor walked on this road carrying his pack, a whole scene had opened up in his child’s mind, and he had put down the book. He saw those hills and he walked up to them, too, with the sailor. He walked ahead of the sailor and he saw a valley, and there was a city in the valley, and very tall buildings, and people on the streets.

Among these people, he moved slowly, listening to them talk. He couldn’t understand their language.

And then he could. He felt he was falling and flying at the same time.

Now, in his office, he did a search and discovered the man who had written the piece he was supposed to report on lived in Hartsdale, a small town 20 miles from his office.

He pinned on his federal badge, took an elevator down to the parking lot, slipped on a mask, got in his car, and drove out of the facility.

The roads were empty. A half-hour later, he parked at the end of a dirt road next to a small cottage.

He entered the cottage without knocking.

The rooms were empty.

Floor boards in the bedroom were stacked in a pile, and there was a hole in the floor. He saw a ladder.

He climbed down the ladder to a dark room. The floor was dirt.

He felt the walls and found a door.

He opened it. People were sitting in chairs. They glanced at him and made no moves.

There was music. They were listening to music.

He sat down in a chair. He had never heard music like this before.

It engulfed him.

He was back in the city in the valley. He walked the streets, and he knew this was just the beginning. It was where he went to depart from what he had been thinking about. It was the first difference, the breaking of a connection. Not only the absence of gravity, but the absence of the character of gravity.

He felt quite alone and quite complete. But not isolated.

There was nothing from his past he needed to share.

And nothing about the pandemic or the lockdown.

It occurred to him there was no danger at all. No pandemic.

The whole edifice of danger and all its sub-sections were like old faded photos.

He stood still in the city.

—end of the dream—

The man who just had this dream made his coffee in the kitchen and took it back into the living room. Another day of lockdown. He sat down on the couch and shook his head like duck who’d just jumped out of a pond up on to dry land. He took a sip of coffee and turned on the news. He felt himself relax.

He flipped from one channel to another.

“A person over 65 who has suffered from any one of several key illnesses must be vaccinated, as a precaution. All hospital and nursing home employees must be vaccinated. Travelers returning from the following locations must be vaccinated before re-entering the country…”

“Here at Driver Two Corp, all our people take the vaccine proudly. We want the community to know we’re in the lead in compliance. We support the Governor and his team of public health advisors. Our new contact tracing app has built in signals telling you when you’re at risk in certain neighborhoods. Visit our Facebook page and learn more.”

“Hi, I’m Dr. Julie Meng of the CDC. I want to tell you about a man named Carl. He refused the vaccine and infected his whole warehouse and we had to shut down the company. Right now, Carl is on a ventilator fighting for his life in a hospital…don’t be a Carl…”

“Did you know you can report certain people who actively refuse the vaccine? Go to our Facebook page and learn who you can report on and why…”

“At YYY Corp, all 32,000 of us want to salute the nation’s contact tracers who are working to keep all of us safe. We know you’re out there protecting us 24/7. So we’re cutting your insurance premiums by 15 percent across the board, for the next six months, as a gesture of thanks. Tracing leads to vaccinating, and that’s what we all need—immunity from the virus…”

“Leading our coverage this morning, the CDC has pinpointed three areas in Utah where vaccine refusal has climbed higher in recent weeks. Some estimates place it as high as ten percent. A breakaway church and its pastor have been blamed for spreading conspiracy theories. In accordance with federal conditions under which the COVID vaccine can be mandated, one of those areas has now been designated a ‘hot spot.’ Local border controls have been set up. Two clinics are prepared to receive people who have turned down the vaccine and are being placed in custody. We now go live to the ER at Buchen Hospital…”

“In Houston, a group calling itself COVID Truth has leaked a public-health list of local residents who have so far refused to take the vaccine. Utilizing Facebook posts, 90 names have been exposed. Of course, medical privacy is an issue, but the majority of local citizens seem to be siding with COVID Truth…”

“Today, three eastern states reached agreement limiting inter-state travel, deploying a wide-ranging series of highway checkpoints, where officers can demand certificates of immunity…”

The man heard a rising noise. He walked over to his window and looked outside. A few blocks away he saw crowds gathering. They were spreading out across his neighborhood. How was that possible? He noticed they weren’t wearing masks. They were standing close together.

The dream flashed through his mind again.

Without thinking, he grabbed his jacket and went outside to join them.

An hour later, he was threading his way through thousands of people. The crowds extended all the way to downtown.

So many people were holding signs that said FREEDOM.

Could this…?

A woman next to him was laughing. She looked at him and handed him a pair of binoculars. He took them and looked in the direction she was pointing.

Along the highway, thousands of motorcycle riders were coming into the city.

He took a deep breath and let it out.

“What’s happening to me?” he said without thinking.

“Nothing,” the woman said. “It’s all over. Their organization is gone.”

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.

Dispatches from the War: the trial of John Q Citizen

by Jon Rappoport

August 21, 2020

(To join our email list, click here.)

John Q found himself in a small courtroom. The lighting was dim. He’d been brought there to stand trial for a minor offense. He was trying to remember what it was. Not wearing his mask? Not keeping his distance? Breaking curfew? The judge was sitting behind a table on an elevated platform.

The judge began speaking—

You think you’ve been arrested because of some little item. You’re wrong. What we’re talking about here is reality. The picture frame and your place in the picture. Your life is INSIDE. That’s the deal. Whether you agreed to the terms is beside the point.

Once you’re inside the picture, you’re expected to take on all the duties of a law-abiding citizen. That’s your ID package. No exceptions. It doesn’t matter what the rules are, you follow them. You’re supposed to get a haircut and a shave, that’s what you do. You’re supposed to wear a suit, you wear a suit. You’re supposed to fall in line, you get in line and wait. If one day the crap hits the fan and everything goes blooey, you wait for orders.

Some days are sunny, sometimes it rains. You have other dreams, you ignore them. You’re carved down into a shape. You assume that shape. You live according to what that shape is supposed to do. You’re a CITIZEN. You aren’t anything else.

This is a one-time offer. Today we fine you. If you show up here again, we stick you in jail. You and all other citizens put together are a PATTERN. We don’t expect you to understand it, we just expect you to do your part.

What else do you think this IS? Stop testing the limits. The limits aren’t going to move. Everybody starts out thinking he’s a foreigner to reality. He’s taking a look-see. He’s checking out the situation. But that’s not the way it is. We’re here to make sure everyone gets the message. Once you’re in, you’re in.

We’re not interested in speculation. We’re interested in facts. We make the facts. Somebody has to. You didn’t wear a mask. We don’t care about the mask. Can’t you see that? We only care about the rule. Tomorrow we say don’t wear a mask. Then that’s the rule.

You’re shaved down and carved down to be a citizen who follows orders. That’s why you’re HERE—Earth, reality, America, whatever you want to call it. You don’t understand reality. We do. That’s the difference between you and us.

We thrive because you’re powerless. We want you to forget about power. You’re up against a whole lot of good citizens who believe they’re powerless. Get it? That’s their religion. It makes perfect sense to them.

Remember the Old Testament story of Joseph? During the seven-year famine, he was chief advisor to the Pharaoh. He sold back, to the people, part of the wheat he had already collected from them. Then finally, he distributed one more pile, in return for the people selling THEMSELVES to the Pharaoh. There is nothing new about our current arrangement.

What kind of show did you think we were running? I’m not just a petty bureaucrat. We know there is power. We know the individual secretly has power. We work to keep that fact away from him. We want to make him forget, to feel shame and guilt.

When we see he’s convinced he’s lost and we’ve won, we feel our own juice. We want to see him defeated. That’s our goal. That’s why we run things the way we do. Every citizen who gives up is a feather in our cap.

This is our movie, we’re the producers, and you’re in crowd scenes. That’s it. We don’t want you sticking out from the crowd or wandering off. Virus, no virus, epidemic, no epidemic, do you think we care about any of that? We only care about BEHAVIOR.

People above us in the pecking order wrote the script, and then other people sold it, and now we’re producing it. On a day to day basis. It’s our job and our calling. As long as you pretend you have no power, as long as you do whatever you need to do, in order to keep pretending, we’re good. We sell amnesia, and you’re the customer.

We don’t care whether you’re rich or poor, whether you work at some menial job, or you’re a high-brow, as long as you toe the line. You can salute whoever and whatever you want to—the flag, the country, the president, God, it doesn’t matter, as long as you stay in your place.

At some point in life, everyone gets a glimpse of the fact that reality is elastic. It’s invented. Our job is to make sure everyone shoves that moment down into his memory and below his memory into the dark and forgets about it.

If he bows down to Something he thinks is telling him that he can’t change reality, that it isn’t up to him, all the better. If he worships doom, all the better. If he believes he’s coming to a rational conclusion that reality is permanently fixed in place, all the better. If he believes inventing new reality is a sin, good. If he thinks real rebellion is impossible, good.

We want realists. A realist is a person who says, “What can I do? Nothing.” That person is a little fleck of gold in our account.

We’ve studied enough history to know the evidence is ABUNDANT: pushed down inside the individual is enormous creative power to invent new reality. We also know his hostile, vicious, rabid denial of that fact is a chronic disease. Have you ever thought about—

John Q Citizen clears his throat and says, “How much do I owe, Your Honor?”

“Two thousand dollars.”

“Where do I pay?”

“The clerk’s office down the hall.”

His eyes dull, Citizen turns and walks out of the court room.

As he’s about to place his hand on the knob of the door to the clerk’s office, a spontaneous question forms in his mind. He’s asked himself this question before, but never with such immediate clarity.

“What am I?”

He feels an explosion at the back of his head.

Suddenly, he looks around…makes up his mind, and then walks toward the entrance of the building.

He feels light on his feet. Alive.

However, before he can walk outside, he notices the scene around him has reshaped itself. He’s no longer in a courthouse. It’s a theater. He has a ticket in his hand.

He sees a door. He goes over and opens it. Moves inside, into warm darkness.

“Is this a good idea?” “Why did I do it?”

He can already feel a merging sensation. Electromagnetic fields are humming, even before the movie starts.

The theater is filled with people. John Q takes his seat. Crystal clear thoughts move through his head.

“Don’t forget where I came from. Don’t forget this is just a movie. Don’t fall asleep. The movie creates nostalgia for a place that doesn’t exist. Don’t surrender. I’m here to find out why the movie has power.”

The lights dim.

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

Suddenly, he’s looking at a huge pasture filled with flowers. The sky is a shocking blue. He can feel a breeze on his arms and face.

He thinks, “This is a hypnotic weapon.”

Now, the pasture fades away and he’s standing on an empty city street at night. It’s drizzling. He hears sirens in the distance. A disheveled beggar approaches and holds out his trembling hand. He waits, then moves on.

John Q looks at the wet shining pavement and snaps his fingers, to change it into a lawn. Nothing happens.

He’s shocked.

He waves his hand at a building. It doesn’t disappear.


He reaches into his pocket and feels a wallet. He walks over to a streetlight and opens it. There’s his picture on a plastic ID card. His 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. He looks at the ID card again. There’s an address.

He remembers the address. He remembers a small cottage at the edge of an industrial town. There’s a pickup parked in the driveway.

It’s his truck. He knows it. But how can that be?

He walks toward larger buildings in the distance.

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

John pulls out his wallet and give it to him. The man looks at the ID card, at John Q, at the card again.

“You were reported missing,” he says.

“Missing from what?” John Q says.

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

“I’m fine,” John Q says. “I was…taking a short trip. I’m just out for some air.”

“In this part of the city? 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 is the word Concern.

John walks with the men to the car.

Waves he’s never felt before are emanating from it.

Mentally, he tries to back up from them. For a moment, he’s in a haze.

He looks at the short man in the suit. The man is smiling.

Suddenly, the smile is transcendent. Tears fill John Q’s eyes.

John thinks, “They built this so I would be lost and they could find me. I’m supposed to be rescued. I’ve never been rescued before. I never knew what it meant.”

He hears faint music.

It grows louder. As he nears the car, he realizes he’s listening to a chorus and an orchestra. The rising theme is Victory.

One of the uniformed men opens the car door.

John nods at him.

“My pleasure, sir,” the uniformed man says.

The music fades away.

The scene shifts.

John Q is standing next to the pickup in his driveway alongside his cottage.

He’s home.

Think, he tells himself. What’s going on?

He recognizes his mind has sections. The first part registers this new reality.

The second part of his mind sees problems and solves them.

He was never aware of these two sectors of his mind before.

Where did they come from?

Now, as he walks into his cottage and instantly remembers the rooms and the objects in these rooms, a separate accompanying sensation of Familiarity, slightly out of phase, grows stronger.

He realizes, without knowing how, that he’s supposed to feel tremendous relief. This is what’s expected of him.

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

They keep coming back to it. The Familiar.

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

…In order to suggest he’s been here before. To suggest he belongs here.

As he looks around the cottage, he notices a third sector of his mind. He struggles to identify it.

It’s the start of a different kind of perception.


He keeps staring at the cottage and he sees space.

He sees pure space that…

…Has been placed here. For him.

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

And John Q is sitting in the theater again.

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

John feels a tap on his shoulder. He turns. It’s an usher.

“Sir,” he says. “Please follow me.”

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

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

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

She drops a check in John’s hand.

“What happened in there?” John says. “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 fifth month by now. It’s 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?” John says.

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

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

She nods.

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

John starts to answer and realizes he doesn’t know.

She looks into John’s 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?” John says.

“Do what?”


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

John turns toward the exit. The sun is shining outside. People are walking past the doors.

He takes a deep breath and leaves the theater.

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

He notices he’s carrying a rolled up sheet of paper in his hand.

He opens it.

It’s a non-disclosure agreement. It has his signature on it.

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

He looks at the sheet of paper…

Makes up his mind…

…And it bursts into flames.

He looks behind him. The theater has vanished.

In its place sits a small stone building. Engraved over the door in gold letters: BOARD OF EDUCATION.

The door opens and young man walks out holding a large plastic bag. He comes up to John. He reaches into the bag and pulls out a thin envelope and hands it to John.

“It’s a mask,” the young man says. “Did you watch the news? We’re all supposed to wear them and hide behind them.”

He walks away.

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.

The power of viruses and the Power of You

“I saw a horror movie and somehow it was the greatest experience of my life.”

by Jon Rappoport

February 18, 2020

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In this article, I depart, for a moment, from the strategy of citing evidence in my coverage of the “China epidemic.” (For my series of articles on the “China epidemic,” click here.)

Instead, I want to make a few brief notes on the subject of power.

For many or most people, there is a kind of programming in the mind which urges the acceptance of viruses as powerful. This programming results in visceral emotional reactions toward microbes.

The collection of sensations would be something like: riding on a train heading toward a possible break in the tracks. Each person on board has been warned. No one is sure whether the tracks, a few miles in the distance, have actually been ripped apart. The train’s engineer in the cab isn’t stopping.

There is fear, of course. But there is also something else. An almost wild feeling. Where does it comes from? It comes from the realization that power is SOMEWHERE. Where? In the potential break in the tracks.

People don’t often experience a sensation of power. For that reason, they don’t want to minimize the importance of the tracks up ahead. They don’t want to throw away that feeling. At some level, they believe that, if they do throw it away, there will be no power anywhere. And THAT would provoke panic.

The idea that they might be coddling an ILLUSION—and the whole warning they received was a monstrous fabrication to begin with—well, this prospect is entirely out of the question. That couldn’t be, under any circumstances. That would be too, too much.

If you were so foolish as to approach such a person and suggest he could, first and foremost, look to his OWN power, he would stare at you as if you were speaking a language from another planet. To say that your advice, under the circumstances—the speeding train, the tracks, the warning—was inappropriate…this would be a vast understatement.

If a person, for whatever reason, believes he has no significant power, he searches for it elsewhere. If he can find a train, a warning, and danger, he’ll climb onboard. It’s far, far better than nothing.

In our society and present culture, of course, the thought that the individual has a great deal of inherent power, and a right to it, is on the wane. That ship, to go to another metaphor, is taking on lots and lots of water.

Typical sociopaths in high places, and their bootlickers, apply basic psychology they don’t teach in fifty-thousand-dollars-a-year colleges: People must be able to imagine power is SOMEWHERE. They don’t believe they have it themselves. So why not invoke images of power in a venue which results in a strange allegiance:

“I’ll see and feel power in a fearful threat to me. I’ll sign on and remain loyal, no matter what. I’ll cling to my threat, and I’ll feel rising fear and strange rising joy together.”

That’s the speeding train, the warning, the tracks.

That’s the virus.

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 Staged Collective

by Jon Rappoport

January 17, 2020

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“The individual sees how a machine is put together. He sees the pieces and the systems. Because he is creative, he doesn’t stop there. He doesn’t automatically believe in the machine and accept it as the final THING. He can invent a better machine—or no machine at all. He has the latent power to go outside the machine and invent in a different way. He can CREATE HIS OWN WORLD. It isn’t a bubble that separates him from the commonly shared world. It is inserted into the common world. It is built on different ideas. He is alive, his creative force is alive, and so what he builds will be alive, too. This is a kind of natural magic. A magic that is inherent in him. It surpasses the ordinary strictures of society. Am I talking about imagination? Absolutely. This is where it starts. This is where the new path originates. This is the dream and the vision. In my collection, Exit From The Matrix, I include a large set of imagination exercises that are designed to liberate that far-reaching quality of the individual. Does the quality have a limit? No. It isn’t a machine or a robot or a computer. It isn’t programmed. And that’s the whole point. The limitless nature of imagination wakes up the individual. He wakes up to infinity.” (Notes on Exit From The Matrix, Jon Rappoport)

Trumpets blare. In the night sky, spotlights roam. A great confusion of smoke and dust and fog, and emerging banners, carries the single message:


The great meltdown of all consciousness into a glob of utopian simplicity…

There are denizens among us.

They present themselves as the Normals.

Beyond all political objectives, there is a simple fact: those group-mind addicts who have given up their souls will rage against the faintest appearance of one who tries to keep his. And in this rage, the soulless ones will try to pull the other down to where they live.

And somehow, it all looks normal and proper and rational.

In the 1950s, before television had numbed minds and turned them into jelly, there was a growing sense of: the Individual versus the Corporate State.

Something needed to be done. People were fitting into slots. They were surrendering their lives in increasing numbers. They were carving away their own idiosyncrasies and their independent ideas.

But television, under the control of psyops experts, became, as the 1950s droned on, the facile barrel of a weapon:

“What’s important is the group. Conform. Give in. Bathe in the great belonging…”

Recognize that every message television imparts is a proxy, a fabrication, a simulacrum, an imitation of life one step removed.

When this medium also broadcasts words and images of belonging and the need to belong, it’s engaged in revolutionary social engineering.

Whether it’s the happy-happy suburban-lawn family in an ad for the wonders of a toxic pesticide, or the mob family going to the mattresses to fend off a rival, it’s fantasy time in the land of mind control.

Television has carried its mission forward. The consciousness of the Individual versus the State has turned into: love the State. Love the State as family.

In the only study I have been able to find, Wictionary partially surveys the scripts of all television shows from the year 2006, to analyze the words most frequently broadcast to viewers in America.

Out of 29,713,800 words, including the massively used “a,” “an,” “the,” “you,” “me,” and the like, the word “home” ranks 179 from the top. “Mom” is 218. “Together” is 222. “Family” is 250.

This usage reflects an unending psyop.

Are you with the family or not? Are you with the group, the collective, or not? Those are the blunt parameters.

“When you get right down to it, all you have is family.” “Our team is really a family.” “You’re deserting the family.” “You fight for the guy next to you.” “Our department is like a family.” “Here at Corporation X, we’re a family.”

The committee, the group, the company, the sector, the planet.

The goal? Submerge the individual.

Individual achievement, imagination, creative power? Not on the agenda. Something for the dustbin of history.

Aldous Huxley, Brave New World: “‘Ninety-six identical twins working ninety-six identical machines’! The voice was almost tremulous with enthusiasm. ‘You really know where you are. For the first time in history.’”

George Orwell, 1984: “The two aims of the Party are to conquer the whole surface of the earth and to extinguish once and for all the possibility of independent thought.”

The soap opera is the apotheosis of television. The long-running characters in Anytown are irreversibly enmeshed in one another’s lives. There’s no escape. There is only mind-numbing meddling.

“I’m just trying to help you realize we all love you (in chains).”

“Your father, rest his soul, would never have wanted you to do this to yourself…”

“How dare you set yourself apart from us. Who do you think you are?”

For some people, the collective “WE” has a fragrant scent—until they get down in the trenches with it. There they discover odd odors and postures and mutations. There they discover self-distorted creatures scurrying around celebrating their twistedness.

The night becomes long. The ideals melt. The level of intelligence required to inhabit this cave-like realm is lower than expected, much lower.

Hypnotic perceptions, which are the glue that holds the territory together, begin to crack and fall apart, and all that is left is a grim determination to see things through.

As the night moves into its latter stages, some participants come to know that all their activity is taking place in a chimerical universe.

It is as if reality has been constructed to yield up gibberish.

Whose idea was it to become deaf, dumb, and blind in the first place?

And then perhaps one person in the cave suddenly says: I EXIST.

That starts a cacophony of howling.

In the aftermath of the 1963 assassination of JFK and the 1995 bombing of the Federal Building in Oklahoma City, the covert theme was the same: a lone individual did this.

A lone individual, detached from the group, did this. “Lone individuals are people who left the fold. They wandered from the communal hearth. Therefore, they inevitably became killers.”

In 1995, after the Oklahoma City Bombing, President Bill Clinton made a speech to the nation. He rescued his presidency by essentially saying, “Come home to the government. We will protect you and save you.”

He framed the crime in those terms. The individual versus the collective.

The history of human struggle on this planet is about the individual emerging FROM the group, from the tribe, from the clan. The history of struggle is not about the individual surrendering and going back INTO group identity.

Going back is the psyop.

The intended psyop.

As the trumpets blare in the night sky, as the fog-ridden spotlights roam, as the banners emerge carrying the single message, WE, as people below are magnetically drawn to this show, a unpredicted thing happens:

Someone shouts: WHAT IS WE?

Other pick up the shout.

And the banners begin to catch fire and melt. They drip steel and wax and the false grinding of hypnotic dreams breaks its rhythm.

The whole sky-scene stutters like a great weapon losing its capacity to contain heat. The sky itself drips and caves inward and collapses, and the trumpets tail off and there is a new fresh silence.

The delusion, in pieces, is drifting away…

The cover: gone.

Behind it is The Individual.

What will he do now?

Will he seek to find his inherent power, the power he cast aside in his eagerness to join the collective?

Will he?

Or will he search for another staged melodrama designed to absorb him in an all-embracing WE?

Will he understand he has the power to create a new far-reaching reality of his own choosing, or will he, once again, submit to the idea that reality must be concocted by the Group?

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 depletion of human energy

by Jon Rappoport

January 10, 2020

(To join our email list, click here.)


As in: energy depletion.

Without energy, the individual feels trapped. In that state, he seeks to conform, fit in, survive long enough to die of old age.

Body and mind deploy various feedback mechanisms to inform a person about his “available supply of energy,” and when these signals are taken as absolute truth, trouble comes.

“I can sense my energy is dwindling. So I have to…settle for less, or see a doctor, or give up, or accept that I’m getting older, or change my values, or tune up a victim-story, or join a group, or…”

On and on it goes.

In this twilight zone, the individual is unwilling to consider solutions that could restore his vitality. He’s already opted for a lower level of life.

In particular, he’s unwilling to explore the one aspect of his capability that works like magic: imagination.

That’s out. No dice. Preposterous. Absurd.

After all, imagination is just that spring rain he felt as a child, that unknown space that held all the promise in the world.

That was then; this is now.

Now is sober reflection. Now is routine. Now is habit. Now is empty.

Once upon a time, he read a science fiction novel and, at the end of it, he felt as if he were standing, triumphant, in deep space at the crossroad of a hundred solar systems.

Now he knows there is no such place. Now he is intelligent.

And now he has no energy.

The light that once flared is gone.

The idea that his own imagination could lead him to discoveries beyond anything he knows is fool’s gold.

Yes, once when he was twenty, he woke up in the middle of the night and walked to his window and looked out over a city and knew he was on the cusp of an endless future…but what can he do about that now? There is no returning.

So his imagination waits. It idles.

Yet…if he took a chance, if he began to dream again, if he started up the engine, if he considered offloading the interlocking systems that have become his daily life, what might happen?

What layers of dead thought might peel away?

What abiding convictions might dissolve?

What energies might be restored?

Is there a huge space beyond his common neurological impulses and rigid survival habits, where Vision can be played out on a vast scale?

Is there a different kind of life he can enter, crossing the threshold from tired knowledge into mystery?

Can he take a route around his stale reality after opening the door to his imagination?

There is, in fact, a silent channel that winds through the entire time-scale of the human race.

History does not officially record it, because history is written by winners for losers, and this channel has nothing to do with pedestrian notions of victory or defeat.

The route of imagination has no truck with conventional space or time. It invents its own, and eventually introduces them into the world.

How many stories are there about journeying knights who cross the boundary from ordinary events into a realm of magic?

The stories are messages…sent to ourselves, to remember. This place, this day, this moment is a platform from which to embark.

Adventure, with no end.



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 Goo

by Jon Rappoport

December 23, 2019

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“The people” is a convenient term for “every INDIVIDUAL.”

This has been lost in translation. It has been garbled, distorted, just as the proprietor of an old-fashioned carnival shell game distorts the audience’s perception with sleight of hand.

Are “the people” one group? Well, that’s the ultimate Globalist formulation.

However, from the point of view of the free individual, things are upside down. It is HIS power that is primary, not the monolithic corporate State’s.

From his point of view, what does the social landscape look like?


I’m not talking about organizations that are actually streamlined to produce something of value. I’m talking about organizations that PLAN MORE ORGANIZATION OF LIFE.

If you want to spend a disturbing afternoon, read through (and try to fathom) the bewildering blizzard of sub-organizations that make up the European Union. I did. And I emerged with a new definition of insanity. OTO. The Obsession to Organize.

OTO speaks of a bottomless fear that somewhere, someone might be living free.


Current technological civilization depends on fixed structures and forms and methods and systems. In certain respects, it succeeds brilliantly. But the effect is a very strong tendency to view reality through compartmentalized lenses.

People tend to think their own power is either a delusion or some sort of abstraction that’s never really EXPERIENCED. So when the subject is broached, it goes nowhere. It fizzles out. It garners shrugs and looks of confusion. Power? Are you talking about the ability to lift weights?

And therefore, the whole notion of freedom makes a very small impression, because without power, what’s the message of freedom? A person can choose vanilla or chocolate? He can watch Law&Order or CSI? He can buy a Buick or a Honda? He can take a trip to Yosemite or Disney World? He can pack a lunch or eat out at a restaurant? He can ask for a raise or apply for a better job with another company? That’s it? He can swim in his pool or work out at the gym?

He can take Prozac, or Paxil, or Zoloft?

Mostly, as the years roll by, he opts for more cynicism and tries to become a “smarter realist.” And that is how he closes the book on his life.

Or, if he is attracted to self-improvement, it’s a matter of choosing between cliches. Which cliché sounds better? Which cliché seems to offer more hope for less effort? Which cliché will connect him to people who accept the same cliché?

Every which way power can be discredited or misunderstood…people will discredit it and misunderstand it.

And then all psychological and physiological and mental and physical and emotional and perceptual and hormonal processes undergo a major shift, in order to accommodate to a reality, a space in which the individual has virtually no power at all.

I’d be remiss if I didn’t include this one: “power=greed.” Mountains of propaganda are heaped on people to convince them that having individual power to make something happen is the same as committing crimes against humanity.

Globalism=collectivism=Glob-consciousness. We’re all one Glob. We exist in that great Cheese Melt.

Even the radical Left of the 1960s, who rioted at the 1968 Democratic National Convention in Chicago, because they believed the nominee, Hubert Humphrey, and his allies wouldn’t stop the war in Vietnam…even that radical force on the Left eventually gave in and morphed into romantic sentimentalists who came to love the State under Obama.

Sooner or later, it comes down to the question: does the individual conceive of himself as an individual, or as part of The Group?

Shall the individual discover how much power and freedom and imagination he actually has, or shall he cut off that process of discovery at the knees, in order to join a group whose aims are diluted and foreshortened versions of consciousness and freedom?

The individual answers these questions overtly, with great consideration, or the questions answer and diminish him through wretched default.

There are people who want their own minds to look exactly like the world. They want their minds to look like photographs of the world. This is what they strive for. The idea that they could invent something is so terrifying they opt instead for the world as it is.

This is what amused the surrealists. They started turning things upside down and inside out. They were reacting to humans who had made themselves into robots. Into robot cameras.

The Surveillance State is a robot camera. It captures everything, based on the premise that what isn’t Normal is dangerous.

The cartels of the world become the cartels of the mind.

At the outbreak of World War 2, the Council on Foreign Relations began making plans for the post-war world.

The question it posed was this: could America exist as a self-sufficient nation, or would it have to go outside its borders for vital resources?

Predictably, the answer was: imperial empire.

The US would not only need to obtain natural resources abroad, it would have to embark on endless conquest to assure continued access.

The CFR, of course, wasn’t just some think tank. It was connected to the highest levels of US government, through the State Department. A front for Rockefeller interests, it actually stood above the government.

Behind all its machinations was the presumption that planned societies were the future of the planet. Not open societies.

Through wars, clandestine operations, legislation, treaties, manipulation of nations’ debt, control of banks and money supplies, countries could be turned into “managed units.”

Increasingly, the populations of countries would be regulated and directed and held in thrall to the State.

And the individual? He would go the way of other extinct species.

For several decades, the pseudo-discipline called “social science” had been turning out reams of studies and reports on tribes, societal groupings, and so-called classes of people. Groups.

Deeply embedded in the social sciences were psychological warfare specialists who, after World War 2, emerged with a new academic status and new field of study: mass communications.

Their objective? The broadcasting of messages that would, in accordance with political goals, provoke hostility or pacified acceptance in the masses.

Hostility channeled into support of new wars; acceptance of greater domestic government control.

Nowhere in these formulas was the individual protected. He was considered a wild card, a loose cannon, and he needed to be demeaned, made an outsider, and characterized as a criminal who opposed the needs of the collective.

Collective=robot minds welded into one mind.

As the years and decades passed, this notion of the collective and its requirements, in a “humane civilization,” expanded. Never mind that out of view, the rich were getting richer and poor were getting poorer. That fact was downplayed, and the cover story–”share and care”—took center stage.

On every level of society, people were urged to think of themselves as part of a greater group. The individual and his hopes, his unique dreams, his desires and energies, his determination and will power…all these were portrayed as relics of an unworkable and deluded past.

In many cases, lone pioneers who were innovating in directions that could, in fact, benefit all of humanity, were absorbed into the one body of the collective, heralded as humane…and then dumped on the side of the road with their inventions and forgotten.

In the planned society, no one rises above the mass, except those men who run and operate and propagandize the mass.

In order to affect the illusion of individual success, as a kind of safety valve for the yearnings of millions of people, the cult of celebrity emerged. But even there, extraordinary tales of rise and then precipitous fall, glory and then humiliation, were and are presented as cautionary melodramas.

This could happen to you. You would be exposed. You would suffer the consequences. Let others take the fall. Keep your mind blank. Do nothing unusual. Shorten your attention span. Disable your own mental machinery. Then you’ll never be tempted to stand out from the mass.

The onrush of technocracy gears its wild promises to genetic manipulation, brain-machine interfaces, and other automatic downloads assuring “greater life.” No effort required. Plug in, and ascend to new heights.

Freedom? Independence? Old flickering dreams vicariously viewed on a screen.

Individual greatness, imagination, creative power? A sunken galleon loaded with treasure that, upon closer investigation, was never there to begin with.

The Plan is all that is important. The plan involves universal surveillance, in order to map the lives of billions of people, move by move, in order to design systems of control within which those billions live, day to day.

But the worst outcome of all is: the individual cannot even conceive of his own life and future in large terms. The individual responds to tighter and control with a shrug, as if to say, “What difference does it make?”

He has bought the collectivist package. His own uniqueness and inner resources are submerged under layers of passive acceptance of the consensus.

And make no mistake about it, this consensus reality, for all its exaltation of the group, is not heraldic in any sense. The propagandized veneer covers a cynical exploitation of every man, woman, and child.

Strapped by an amnesia about his own freedom and what it can truly mean, the individual opts for a place in the collective gloom. He may grumble and complain, but he fits in.

He can’t remember another possibility.

Every enterprise in which he finds himself turns out to be a pale copy of the real thing.

The deep energies and power and desire for freedom remain untapped.

Yet a struggle continues to live. It lives in the hidden places of every individual who wants out, who wants to come back to himself, who wants to stride out on a stage.

Freedom and power again. The shattering of amnesia.

In this stolen world.

The extinct individual returns.

Petty little hungers and obsessions become great hungers.

Dominoes of the collective begin to fall. The whole stinking structure collapses, a wing here and a wing there, and the robots open their eyes and turn off their cameras.

The vast sticky web called “the people” begins to disintegrate in roaring cities and in the mind.

A new instructive message appears on billboards and screens: “normal=crazy.”

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.

Interviewing myself on art and imagination

by Jon Rappoport

December 9, 2019

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Q: So what’s the problem with imagination?

A: People are obsessed with harmony, balance, symmetry. The classical versions. They don’t know they’ve programmed themselves to want it. They think it’s some kind of eternal Form. That’s complete nonsense. It’s just one way of looking at things.

Q: A collage, for example, chops up ordinary reality and reassembles it.

A: And what’s so threatening about that? The threat is that the mind of the viewer might take a jump into the unknown, where the rules of how things appear and fit together don’t apply anymore.

Q: Perception might be challenged.

A: Momentarily unhinged. You see, people are quite sure they understand the connections between things, the transitions. The space-time hoax, I would call it.

Q: Are there spiritual systems that remedy this hoax?

A: Just about of all them might refer to the hoax, by stating there is a higher reality, but you see that higher reality is imagined as a more classical painting, with better harmony and balance. So it’s a con. The higher reality turns out to be a tighter version of what we already have. It looks like ancient Greece.

Q: You’re talking about the literal mind, aren’t you?

A: That’s a mind that holds on to the straight-ahead way of thinking no matter what. It can’t conceive of any other kind of reality. It holds on for dear life. In the physical world, we have logic. Without logic, a person is an idiot in the physical world. But there are other worlds where logic doesn’t apply. Imagination invents worlds, and there is no reason to apply logic to the process. You can, but you don’t have to.

Q: You’re saying the world as most people accept it is a con.

A: The news is a good analogy. The television anchor transitions seamlessly from one story to another. A plane crash in the jungle. A new cheaper car. A murder in Chicago. A politician sleeping with a hooker. And so on. This is actually quite surreal, all these juxtapositions. But the anchor does the transitions with tone of voice and so on, and makes it seem as if everything is quite normal. But it’s really a collage.

Q: But the viewer doesn’t see it that way.

A: If he did, the news would go away. No one would watch it, except for an occasional amusement.

Q: The viewer thinks the news is quite real.

A: That’s the point. He thinks he’s seeing harmony and symmetry, because he wants to see that. He wants it badly. So he goes along with the hoax.

Q: Take a painting like Picasso’s Guernica.

A: If you look at it for a few minutes, and get past the anti-war statement, you start seeing multiple spaces floating behind, in front of, and along side each other. The viewer instantly decides this is ugly. He says, “Modern painting is ugly.” Why? Because he’s married to the classical harmony and geometry and balance. Just as he’s married to the space-time hoax. He wants that marriage. He says it’s some kind of ultimate, but it’s his own projection. It’s his road and his car and he built them and he’s driving on the road.

Q: He doesn’t want his own seamless perception to break down.

A: He doesn’t want to use his own imagination and make something with it. He’ll sign up for a thousand different “spiritual ideas” that preach symmetry. That’s his jones, his addiction.

Q: Is harmony real?

A: Of course. You can make a trillion paintings, and in a few of them you can insert classical harmony. Why not? But it’s just one mode, one way of seeing and inventing. Here’s the catch. For a mind that’s little more than aggression and fear, the classical reality is a step up. It’s a way of controlling his impulses to engage in arbitrary destruction. But it’s not the end-all and be-all.

Q: Here’s a statement. “The universe gives us what we need.”

A: People believe whatever they want to. I can believe my big toe is the source of all wisdom. So what? “The universe” is a modern religious replacement for God, a benevolent being. Think of a huge store. You walk into the store and you can buy any belief you want to. Some are on sale. But when you check out and pay, they hit you with some kind of pulse. And then you think the belief you just bought is actually true. You don’t remember you bought it.

Q: And imagination?

A: You invent. You make your invention fact. You paint. You write. You build a house. You dream up a social or political cause and you get behind it and push. You invent a marriage every day. When it becomes a habit, you stop and reinvent it.

Q: But not according to some predetermined pattern.

A: There is no predetermination. That’s a default setting. That’s what you go for when you give up on imagination. You pretend there is some preferred pattern in things or in your mind, and you adhere to it.

Q: If large numbers of people accepted what you just said, would there be chaos?

A: Fertile chaos. Freedom. Huge diversity. The whole machine of habit would break down.

Q: Take a painter like Soutine.

A: Many people would say he painted hideous things. Buildings curving and wobbling in the wind. Distorted faces. Yes, contrasted with rigid orderly predilections. “Well, that’s not geometric. That’s ugly. That’s horrible.” Yes, sacred geometry. There is nothing sacred about it. To find out certain patterns are repeated in snails and galaxies, or whatever, is that really a revelation? Repeating patterns are everywhere. So what? This universe is a work of art, just one, and there are repetitions in it. That’s no more important than discovering that an Italian painter of the 15th century employed certain mathematical principles to achieve balance and perspective. It’s interesting, but it isn’t astonishing.

Q: So you’re wiping out technology in one stroke?

A: Not at all. Technology isn’t going anywhere. But even there you see the important inventions came about with a gap, a jump. The innovator wasn’t just building on what had come before. He was making a leap of imagination. Always. He was getting out ahead of the game. The human drones believe the history of science is one smooth road. That’s ridiculous.

Q: You’re saying mass solutions don’t work?

A: In the long, long run, nothing works. Except the individual. It keeps coming back to him. You can fight off the destructive forces and you can win, but then what? The group? If you look deeply enough, all destruction is aimed at the individual.

Q: There is more than one space-time?

A: There are an infinite number and variety of spaces and times. But the abiding fact is: fitting into any one of them is a retreat. Experiencing them? Yes. Inventing them? Yes. But fitting into them and accepting them as the end-all? Absurd.

Q: And what about a cosmic consciousness in which we are all together as One?

A: Oneness is one state of mind you can enter. There are endless numbers of others. The “ultimate answer” isn’t any particular state of consciousness.

Q: You’ve written about the Spanish architect, Gaudi.

A: In Barcelona. He was quite an “eccentric” builder. His version of symmetry was quite beyond the norm. He was getting lots of commissions to build in the city, and at some point, because he was so prolific, the city fathers stepped back and said, “Well, if we let him keep going, he’ll take over all of Barcelona.” So the commissions dried up. And they were right, Gaudi would have taken over. He would have built a new city. He should have. This is what art does. This is what imagination does. It’s endless.

Q: So now they celebrate Gaudi.

A: Yes. They call him a “playful genius.” Or something. They look back at him as a dead figure from the past “who enhanced public life.” That’s nonsense. He was an artist and he had his own unique ideas and he, for a time, was unleashed, until he was cut off.

Q: Every city in the world could be quite different.

A: If the artists designed and built them. The world would be so diverse, much more so than now. The space-time unity and hoax would be exposed. It would wither on the vine, like the rank obsession it is. The major religions would collapse and blow away. The major political systems would change into a vast variety of decentralized experiments, and succeed and fail.

Q: Freedom.

A: Freedom is the platform and imagination is the multistage multidimensional rocket.

Q: What about people who say, “A rock is a rock. An idea is an idea. There’s just this one space-time continuum.”

A: They have only a theoretical abstract idea about what imagination is. They’ve never lived it to the hilt. They invent subconsciously what everyone else is inventing and they try to become proficient at living inside that group painting.

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 “glue” that makes us all average, normal, and clueless

by Jon Rappoport

December 6, 2019

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Tragic events, crises, threats are designed to capture our minds and hold us in a state of emergency, whether or not such a state is officially declared by our august leaders.

This “glue” is one aspect of the Matrix.

And of course, when events seem to threaten our very existence, these leaders are all too eager to enact responses and solutions that make the original crises pale by comparison.

We couldn’t be blamed for defining “solution” as “whatever is worse than the problem.”

In this sordid mix, what part of ourselves is being held down? What capability are we unwilling to exercise? What does fear keep us from doing?

It’s obvious that freedom takes a hit. We become more cautious about exercising our freedoms. However, freedom isn’t just an idea or an empty condition. Freedom implies power. Individual power.

If it didn’t, who would care one way or another about freedom? Who would make an issue out of it?

If each one of us didn’t have power, freedom would be no more than a fairy tale with which we could amuse ourselves.

The exploration of power is not something you’ll find in a school or in the workplace or in a community group. It’s a kind of taboo. People don’t talk about it.

Not talking about it makes as much sense as writing a book about the sun and neglecting to mention it gives off heat.

The repressed conversation about power is a cultural artifact. We’re somehow led to believe it’s impolite to bring up the subject. It’s self-aggrandizing. It runs against the grain of appearing humble. It seems to legislate against the mandatory premise that “we’re all in this together.”

What does this taboo conceal?

Power is the capacity to imagine and create.

Rather than being about “the truth,” power is about inventing new truth, in the sense that, when you create, you bring something into the world that wasn’t there before.

After a great artist or scientist makes imagination into fact, others then gather around and analyze the truth of what has just appeared. But the cardinal happening was the invention itself.

Even more important was the capacity to make imagination into fact.


Flowing from freedom.

This is what crisis and threat and tragedy seem to blanket with despair. But that is an illusion.

Nothing can happen in this world that changes or diminishes your inherent power, unless you decide it does.

Staged crises are also an example of power. They are perverse art flung up on the screen of our perception, designed to make us feel we have to give in. Give in to what? To the sacrifice of our own capacity to imagine and create reality.

“Somebody else made reality for me.”

That idea is also the hallmark of hypnosis. The subject, in a trance, accepts what is already real as the final summing up of his life. His only job is to adjust his actions to the world as it is.

There are many examples. Look at the mesmerizing tonnage of legend launched to convince the population of ancient India that the caste system was a cosmological necessity, given the rules of universal justice and the regulations governing reincarnation.

This “spiritual system” was, finally, a cosmic fascism. It was a work of art designed and managed by the aristocratic and priest classes, to cement their control over the population. In other words, these rulers invented a reality for the masses that thereafter commanded:

“We made reality for you. Your job is now to live inside it.”

Likewise, in recent centuries, the rise of science was twisted and extrapolated into its own legend: materialism.

“There is nothing beyond particles whirling in space. That’s it. That’s what is real, everywhere. You live inside this idea. Adjust. Reject any thoughts that don’t mesh with it.”

And against all this is, if we want it, freedom. Power. The individual capacity to imagine and create reality.

How far does this power extend?

Life on planet Earth appears to mandate against any far-reaching exercise of creative power. That, too, is an illusion.

There are no limits.

The whole repeating covert op of tragedy, tragedy, tragedy, grieving, grieving, grieving, coming together, healing…the whole endless and repeating ceremony is put there to assure us that we are little creatures with nowhere else to go but Acceptance. This, we are told, is our only option for redemption.

This idea has been sold in the marketplace of spiritual commerce since the dawn of time.

It’s a straight-out lie. It’s told, again and again, to serve rulers.

And rulers want to make sure that the number of creatively powerful individuals is kept to a bare minimum. Otherwise, the single monolithic reality they have invented and sold would shake and fall apart.

Drowned in a multidimensional triumph of many powerful individuals creating many brilliant and simultaneous realities.

That is the true unalloyed meaning of an open society.

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.

Live in the collective and forget who you are

by Jon Rappoport

December 2, 2019

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We are now told it’s selfish and greedy to promote freedom for the individual. It’s old-fashioned. It’s passe. It’s dangerous. It’s nothing more than a ruse floated by the rich to hold down the poor.

Forget about the fact that the next Einstein or Tesla, growing up in what has become a collectivist society, could be slammed with Ritalin, Prozac, and even heavier drugs—because they’re “abnormal.”

Some day, when America has been forgotten, an anthropologist will write a celebrated history of this country, and it’ll be all about cultural trends and group customs, and no one will even remember there was such an idea as The Individual.

By that time, the population of what was once the United States will live in a theocracy dedicated to Mother Earth, and every day for half an hour, the people will kneel and pray, together, from coast to coast, for mercy from this Mother.

And the people will be happy doing it—such as they understand happiness. They will glorify The Group. They will live under the great dome of the Flying Drones and they will rejoice in their solidarity.

They will willingly submit to all forms of surveillance, because it is in the interest of the Whole, the collective, the mass. After all, who would depart from the rules and sentiments of The Group? Only the outcasts. Only those bitter clingers who still believe they are unique individuals and have desires and power. Who needs them? Who wants them? They’re primitive throwbacks. They’re sick and they need treatment.

Be grateful you’re living in the time of the great transition. If you look, you can see the changes taking place right in front of your own eyes. You can see The Individual fading out as a concept. You can see its replacement—the group and its needs—coming on strong. You can know where we’re heading.

One day, you’ll be able to tell your grandchildren there was once a time when there was a completely different conception of existence, and you’ll be able to regale them with stories of the impossible. Stories of individuals.

Of course, they won’t believe you. They won’t be able to fathom what in the world you’re talking about. But that doesn’t matter. They’ll listen in rapt wonder, just as we now admiringly contemplate tales of strange creatures and mountain gods of the ancient Greeks.

It’ll be fun to look back on our time.

Don’t worry. It doesn’t matter. History is merely an anthropological catalog of trends, a series of customs. We pass from one epoch to another. What was true and important in one time becomes meaningless later.

Just “come together for the great healing.” That’s all you need to think about now. It’ll all work out. And if it doesn’t, you won’t remember the failure anyway.

Coda: What’s that? I can’t hear you. Speak a little louder. Oh…I see. You’re saying we the people are getting ripped off by our leaders and their secret controllers. Yes. Well, sure, that’s true.

And yes…if we all came together perhaps we could throw off these controllers and assert our independence once again. Yes.

But then I ask you this:

After we’ve won the great battle, what do we do next? Do we parade around, from town to town, from city to city, a hundred million of us, a great caravan, extolling our group victory? Is that what we do for the rest of eternity?

Or did we fight and win the great battle for another reason?

Did we perhaps fight and win so we could reestablish the individual as the basis and the object of freedom?

Wasn’t that really the reason we were in this fight?

Or are you already too humble and progressive and submissive and enlightened to think so?

If you’re going to fight and fight to win, it helps to know why you’re in the battle, why you’re really in it.

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.