Why should a poem exist in this world?

Why should a poem exist in this world?

by Jon Rappoport

November 26, 2013

www.nomorefakenews.com

Because our great energies are divided

Because there is a room,

and flasks on a dusty shelf

one for your heart, one for your mind, one for your soul, your psyche, and your imagination

Put them

into the flasks

and then

you will see

what everyone sees

and then there will be men out on the sand fighting and killing for banks, drugs, oil, and fire

men who remember their childhoods the lawns the streets the garbage cans the alleys the sirens the dark empty buildings whispering messages in the middle of the night

the cemeteries the graves the markers the schools the factories

men out on the sand fighting and killing for the great Reality that drifts like paper into a roaring furnace

gray faces hovering over burnt sacrifices

a banker on a stage

rubbing his gloves

and pulling money out of his satin mouth

the princes of television

releasing their drone packages

and a third party calls to us across a vine-threaded wall

an unpredicted outsider

who’s known the sacrifice was torture


Exit From the Matrix


since the beginning when the river was turned away from the forests and spun into great rotting pools

of gangrenous empire

the outsider is divided and separated in the room of sacrifice

poems, blood filament by growing filament, fill in and connect the spaces

and the sun and moon shine on the blood and make it whole

the poem explodes in the self-separated human who is quite convinced he has nothing to do with a poem, has nothing to do with the soul that is dying inside him

I write poems

people tell me I’m crazy to do it

I’m committing a form of suicide

but I’ll tell you this

it isn’t a sacrifice

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

Fukushima Man

Fukushima Man

by Jon Rappoport

November 25, 2013

www.nomorefakenews.com

So there I was

in one of those giant discount stores

trying on a new pair of pants in the dressing room

a cool neutral voice said

changing your underwear is politics

and by the way when was the last time

you cut your toenails

wearing or not wearing a watch is politics

that mole near your left knee is political

the calcium deposit on your right ankle is political

the way you look at yourself in the mirror is political

those three years of your life in the 60s we can’t account for

are political”

The curtain brushed aside and a tall naked woman walked in

she ran a black instrument over the new pants

-a loud buzz-

they’re radioactive,” she said “testicular cancer in three months

try the pink drawstring sweat pants instead”

she withdrew

the neutral voice picked up…

you’re a month late on your appointment for a dental cleaning

you haven’t changed your oil in a year

your health plan will be canceled next week”

I ran out of the dressing room, spotted the front door in the distance and hightailed it…

I emerged into the parking lot…cop cars parked all around…no way through…SWAT guys in black with rifles pointed at me…fat dude with a bullhorn…”lie down on the ground…lie down on the ground now…”

I looked around and saw a large man wearing a gray coat walking away from the store with a package under his arm. I pointed at him and screamed “Russian agent! There! Al Qaeda Russian terrorist! Get him!”

The cops all swiveled and opened fire. They turned that poor bastard into dog meat in a few seconds.

A lieutenant walked up to me and shook my hand. “You saved your country today, sir.”

He squinted. “We knew you were for real when we saw your pants. They’re glowing. Those are Fukushima Casuals. Not many men have the balls to wear them.”

a month later

when I met the president

they had me in my new pants

behind a special shield

he passed a medal through a slot

and I took it and put it my pocket

son,” the president said, “we all have to make sacrifices

to keep the engines running and the lights on

we’re all in this together”

he grinned, winked, and shot me with his finger

a few minutes later the SS boys dumped me out in an alley and pointed me toward a string of bars

I got the message

the women, you see,

and I’m not talking the best women maybe, but

some women are better than no women,

are attracted to the pants

they come up to me while I’m drinking and

touch the material

when I’m in my room late at night smoking

I notice the cigarettes burn faster

the wall paper is peeling

the windows are fogging over right away

there’s a force

I have this crazy feeling

it has a mind or at least a purpose of its own

it wants to expand

and I’m the messenger

it’s chosen me for some reason

but

when I wake up in the morning I realize it’s just one of those things you think when you’re alone

and the most important thing about you is your glowing pants

even a blessing can be a curse

that’s what I say now when I’m on the occasional talk show

when a lunatic with bright bright teeth

interviews me

the man with the glowing pants


Exit From the Matrix


…so I’m sitting in this little bar talking to a floozie

when the tall naked woman from the giant discount store

walks in

only she’s wearing a business suit

she brushes the floozie aside and sits next to me

she orders three shots of tequila and downs them one after another

she leans in close and says

don’t you get it? they’ve been profiling you for a while now, turns out you’re the one schmuck in fifty million who thrives on radiation…” she leans even closer and I can feel her tongue in my ear like a moist swizzle stick…”in fact, they’re thinking of wiping out the whole human race and rebuilding it using you as the genetic template…”

and that’s how I find myself in an underground lab strapped to a table and a guy who reminds me of Allen Dulles, dead-eye dick with those rimless glasses and a cold blank stare,

stands above me…

Allen says, “If we put this guy next to a few fuel rods, he might glow so brightly he lights up the whole world…he might be God…he might be, finally, God made visible….ship this putz to Japan tonight and let’s see what happens…”

Fukushima Man

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

Art is dangerous to authorities

Art is dangerous to authorities

by Jon Rappoport

November 20, 2013

www.nomorefakenews.com

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

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

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

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

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

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

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

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

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


Exit From the Matrix


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

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

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

The one trap an artist—which is to say anyone who lives through and by imagination—has to avoid is thinking of himself as a victim because he is “an outsider.”

Outside is good. Outside has great strength.

When an artist invents himself as a victim, he then goes on to lash out at people who have nothing to do with the fate to which he’s consigned himself.

Authorities in any society, no matter what they call themselves, are invested in systems that will maintain a status quo of perception. They are constantly producing new systems for that purpose.

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

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

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

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

It’s called hatred of life.

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

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

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

The individual vs. the planned society

The individual vs. the planned society

by Jon Rappoport

November 14, 2013

www.nomorefakenews.com

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.

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 in 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.

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 case, 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.

Their breakthroughs could upset favored monopolies and actually elevate the lives of people. Therefore, men like Tesla and Buckminster Fuller had to be buried.

In other cases, there was very little praise before burial. Wilhelm Reich, Dr. William Frederick Koch, Royal Rife.

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.

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.


The Matrix Revealed


If the individual has any place in this future, it is: working at a job, keeping his or her head down, supporting the family, gradually wearing down, and dying. In more and more cases, the job is within, or attached to, government.

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.


Exit From the Matrix


This is why I have been so critical of the recent ballot initiatives urging labeling of genetically modified food. The group, in this case, is the mass of consumers, people who buy. This is the apotheosis of a movement against a titan, a monster, Monsanto. “Know what you buy, know what you eat, and we will triumph over evil.”

The prospect of victory on these terms is, in the long run, non-existent. Why? Because the deep energies and power and desire for freedom remain untapped.

Based on supposed knowledge of what works in the political arena, the men who have been dictating the terms of the “good message” are shortchanging this opportunity.

As businessmen, they are tuned to the marketplace. But that is not where this struggle really lives. It lives in the hidden places of every repressed individual who wants out, who wants to come back to himself, who wants to stride out on a stage and take the battle to the enemy.

And these failed political campaigns are an example of what millions of people in this country want on a much broader level.

They want freedom and power again. They want to feel alive. They want to feel they’re fighting and winning in the true space where the heart and soul of the struggle can be experienced in the deepest way, where their own amnesia shatters and they remember who they are and they see what evil is trying to accomplish, in order to keep them in a trance.

When a political campaign taps into that, it will have legs. It will have legs and wings, it will mean something about victory in this stolen nation.

And it will mean that the extinct individual returns.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

Forgotten languages: how I put together Exit From the Matrix

How I put together Exit From the Matrix: forgotten languages

by Jon Rappoport

November 8, 2013

www.nomorefakenews.com

There’s a reason I included more than 50 imagination exercises and techniques in my collection, Exit From the Matrix.

Imagination opens up vistas that are outside the Matrix, outside consensus reality, outside this space-time continuum.

Imagination is the forgotten engine of change, transformation, breakthrough, power, revolutionary consciousness.

Imagination is the doorway to a whole host of brilliant emotions for which there are no names.

In our lowest common denominator society, people are used to thinking about and experiencing a vastly reduced range of feelings. Imagination changes all that.

In 1995, I was painting in a studio in Santa Monica, California. One day, the phrase “forgotten languages” popped into my head.

I found several large pieces of cardboard. Each one was about four feet by two. I filled them up with black shapes. I was working spontaneously, with no plan.

When I finished, I propped them up and leaned them against the sliding glass door, went over to my bed, lay down, and looked at them for a few minutes.

They began “talking” to me. It was quite startling and exhilarating. The shapes were broadcasting images and very vivid sensations of flying in mid-air, in space. And then, behind that, feelings came: Unnameable feelings, in a rush.

This was a shifting language in which meanings sparked other meanings, rose and fell, disappeared, gave way to new sensations, all of which were infiltrated with ecstatic freedom.

I lay there, bathed in it all, for a few minutes. Then the transmission faded away.

The residual impact was this: there are potential languages, very different in kind from those we use, which transfer far more information far more quickly. But the information isn’t symbolic or referential—it’s alive in the moment.

One could almost say these languages have consciousness, and they deliver their ever-changing “messages” without the need for translation or interpretation or thought by the “reader.”

The languages are open doors into vistas and panoramas of thousand-faced joys, each joy a different collection of tones and personalities.

A “word” in one of these languages transmits figures, personae, beings in various states of dynamic action overflowing with acrobatic exuberance.

And we could speak to one another in such languages.

We most definitely could.

The only thing that shuts us out is the decision to forgo imagination, to put it on the shelf and let it sit there.

If we did speak to one another in these languages, we would automatically rise to another level of being, of instantaneous understanding. No filters, no intermediaries.

I visited a linguistics professor in his office and spoke with him about all this. He pulled out some samples of Chinese calligraphy. He told me that many modern scholars refuse to admit that the Chinese language had it roots in pure pictographs, which communicated in a more direct way than the later abstracted forms.

I thought we were about done with the conversation. I got up to leave, but he stopped me.

You want to see an exercise in linguistic dreamtime?” he said.

That was an interesting phrase.

He told me he knew exactly what I was talking about, because he’d had similar experiences in dreams.

He showed me two notebooks full of shapes he’d painted with a small brush and black ink.

Each notebook is a conversation with myself,” he said. “It began as sheer amusement, during a summer vacation. But then it turned into something else.”

He went on to describe how he knew what the shapes meant, although he couldn’t put it into words. They were reciting a kind of history of the human race, but on a different hidden level.

This is psychic history,” he said. “The registering of what’s happening in the world, as the imagination reframes it.”

We looked at each other, and ordinary reality just went away. We were two people acknowledging a parallel and potentially endless reservoir of Other space-time.


Exit From the Matrix


Then he started talking about his son.

When he was three, for a few months he looked at these notebooks every day. He turned the pages and studied the shapes. He was quite intent on it. He was still coming into this world, getting used to it, but I was quite sure he was remembering that other realm, that dimension. He knew about it.”

In the early 1980s, I spent every Monday night, for a few months, at the Factory Theater in downtown Los Angeles. Scott Kellman, the director, was conducting an improvisation workshop.

One night, a friend and I did an exercise in which we spontaneously invented our own sign language. Our hand signals weren’t supposed to represent anything, but we imagined we were engaged in serious conversation.

A few minutes into the exercise, we were imagining so well that something else took over. We were now in a space where the flashing signs did, in fact, have meaning.

We both knew it. We knew we’d gotten past the entire literal fixation on ordinary language. We were sending images back and forth. The images revealed themselves as some sort of drama, in which two people discover they exist, right now, in more dimensions than they previously realized. That was suddenly the unspoken theme.

We played it out.

When we were done, my friend said, without thinking, “I’ll always know you’re alive, wherever you are.”

The room was silent, and slowly we felt the other actors and Scott, the director, being drawn into this space with us.

It was telepathic, but not in the sense of sending and receiving thought. It was telepathy of “occupation.” We were all in a new dimension right there in the theater.

As I left to go home that night, I told Scott, “That was like flying a little plane and stepping out of it and staying right there in the sky.”

He nodded and said, “And all you needed were a few pieces of wood called a stage.” He grabbed my arm. “Think about what would happen if people started creating a piece of random sidewalk or a grocery store as a stage, the way we did tonight. Whole different world.”

The early Tibetan adepts were well aware of all this and more. At the core of their practice were imagination exercises, before the priest class stepped in and bungled the whole thing, and asserted their theocracy.

Early on, many of the figurative Tibetan paintings and mandalas, rather than simply being adored saints, were actually images meant to be recreated in those imagination exercises, for an entirely different purpose: the liberation of the inventive core of the individual.

To begin to understand the later distortion the priest class launched, imagine people walking into a museum and falling down in abject worship of a row of Van Gogh canvases, while remaining entirely ignorant that anyone had painted them.

In Exit From the Matrix, I set all this straight.

I’ve given you enough imagination exercises and techniques to last several lifetimes.

Civilizations come and go, rise and fall, stultify and change. Each one of us remains. Wherever we are, in whatever circumstances we find ourselves, we can be artists of reality.

We can remember that and live it.

Imagination is like having an indispensable tool of archeology, but in this case we’re uncovering our own forgotten languages that speak of greater levels of being.

This is the great adventure.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

Paranormal You

Paranormal You

by Jon Rappoport

November 7, 2013

www.nomorefakenews.com

1960. First day of rehearsal for a college play, The Lower Depths. I walk out on the stage and look around. It’s quiet, but inside I feel thunder. Everything is different. New shining space. I start smiling. I’ve been waiting for this moment for God knows how long. A place apart. A world where imagination takes on flesh and comes to life.

The theater director, Walt Boughton, is leaning against a wall. He looks at me. He sees and he knows. He nods. His message is clear: That’s right, my boy, you’re here, this is it, nothing will ever be the same…

We live in a society where consumers can pick and choose among thousands of narratives about themselves, their lives, their future, their duties, their needs, their status.

Just the other day, I wrote about a new Pentagon/DARPA project aimed at studying brain signals, in real time, to understand how and why people buy some narratives and reject others.

A common feature of most narratives is: limited life, limited power.

Or to put it another way, limited access to larger aspects of Self.

The trick of narratives, as retired propaganda master, Ellis Medavoy, once told me, is: built-in limitation; it looks like “desire fulfilled”; it looks like happiness.

But it isn’t.

And when people find that out, they experience buyer’s remorse.

Why did I think that narrative described what I wanted? Why did I think it would make me satisfied?”

The space-continuum in which we live has its own narratives. They hang from it like barnacles. The gist? You can’t get out. There is nothing to get to.

Again, I refer to the brilliant hypnotherapist, Jack True, whom I interview 43 times in my collection, The Matrix Revealed. Jack did sessions with patients that went directly at the space-time matrix.

Under hypnosis,” he said, “I had people look at the continuum and tell me what they saw. I had them describe it in their own way. Then I asked them to look outside it.”

The material from those sessions is extraordinary, in several respects. It helped me, when I was researching my companion collection, Exit From the Matrix.

Some of Jacks’ patients came “back around the barn,” as Jack characterized it, and ended up relating what sounded like dreams, dreams they would have while asleep. The narrative wasn’t smooth, it wasn’t moving from beginning to end. It was asymmetrical, just as in dreams, where the scenery shifts, where one event ends in midstream and another pops up, where the “plot line” dissolves…and a new plot takes over.

Several of Jack’s patients said their encounters outside the space-time continuum felt very familiar—as if they’d been there before.

Jack: “One patient said he found himself in a dim hall. It was very large. People were talking, but he couldn’t see them. A single voice took over, and a character stepped out of the shadows. He told the patient to remember this meeting when he woke up. He said this was one of a great number of places outside ordinary space-time. He said there was no reason to consider this ‘visit’ strange or unusual. On the contrary, life inside space-time was unusual…”

There are millions and millions of narratives that are used to convince people life inside space-time is It, it’s all there is, it’s normal…

And normalcy is the key. That’s the icon, the symbol, the header, the trance-inducer. What is normal seals the deal. It labels what is allowed to be experienced. It tells people what is not allowed to be experienced.

These narratives about normalcy hold people inside the gates, and provide boundaries for Self. “Self can’t get any bigger than this.”

In the early 1960s, I was teaching at a private school in West Los Angeles. On a Monday morning, I got off the bus and walked along Pico Boulevard toward Overland Avenue. My first class was in 15 minutes or so.

Out of nowhere, a small black bird dive-bombed me, landed on my head with both feet and took off again.

The day before, I’d seen Hitchcock’s The Birds. I thought this was an unusual follow-up, to say the least.

I saw the bird land in a tree near the corner of Overland. I walked to the tree and looked at the bird.

He flew down and landed a couple of feet away from me on the sidewalk. He hopped closer.

He cocked his head and looked up at me.

It’s Hitchcock,” I said.

He took off, flew across the street, and disappeared over the roof of the Security National Bank building.

After school that day, I told one of the teachers about the incident. He said, “You know, they’re hiring us to show these crazy kids how to fit in [be normal], and this is what you’re telling me? A movie and reality intersect?”

We laughed.

But I realized something. Something about Normal.

These kids in our small private school were all rejects from the public system, or from other private schools. They couldn’t make it there. Many of them were what the psychologists called “acting out.”

I’d have to write a few hundred pages just to begin giving you the flavor of what it was like to deal with 15 or 20 of them, at once, in a classroom. It wasn’t about teaching content, believe me. It was about me surviving.

But at bottom, every one of those kids was, in his/her own highly idiosyncratic way, Not-Normal. That’s all. And what was driving them completely bat-crazy was, no one would deal with them on their own terms.

Everyone was trying to fix them. Everyone was feeding them narratives about “normal, fitting in.”

The next day I changed all that. In my classes, we worked up improvised sketches. Theater. No plot, no direction, no narrative, just off-the-cuff dreamtime in the moment and lots of roles, some of which they were already playing every day to a dead audience of teachers. But it wasn’t dead now. They had me and they had each other.

They jumped at the chance. They didn’t need any direction or instruction. It was as if they’d been waiting all their lives for someone to say, “Just perform what you’re already performing.”

They were actors. That’s what they’d been trying to tell adults.

And everything fell into place. They loved it, I loved it, we all offloaded a few tons of stress and a whole lot of insane normalcy…and then they calmed down. Not because there was a strict rule about behavior, but because they had escaped the tyranny of Is. And Has To Be. And Must. And Normal.

That day, the space-time of the continuum, in that classroom, went away. It disintegrated. What took its place was an island of joy. Which is to say, what sits outside this matrix is more real than real. When you find it.

It doesn’t have to be spooky.

It’s Magic Theater.


Exit From the Matrix


Sit down some time with a bunch of real stage actors and ask them when they feel most alive. A certain percentage of them will confess it’s when they’re on the boards, performing a role. That’s when they feel most like themselves, even though they’re pretending to be somebody else. That’s when the day-to-day space-time continuum goes away and new one comes into being.

That’s when normal steps aside and paranormal makes its entrance.

A fake space, a repressed space, a continuum of frustration vanishes.

Conventional standards don’t explain what is happening. They can’t.

Life. Theater. Theatricality. Roles played to the hilt. The Paranormal.

There is no single narrative for a human being. There are as many as he wants to invent. Sometimes the stage is dead, the lights are off, the seats are empty. But then we get a glimpse of something else. We walk up on the stage and feel that space and realize the old walls are gone and this is it, and we’re ready, and the energy comes out of nowhere and we do things we thought were impossible.

Normal disintegrates.

This is art. This is a level of life that is waiting for all of us.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

Jon Rappoport: advice to writers

Jon Rappoport: advice to writers

November 5, 2013

www.nomorefakenews.com

This has nothing to do with getting published or formatting stories for editors.

It’s about the process of writing, about how you think and create. It applies to journalism and short stories and novels and plays. It’s about what happens when you don’t try to fit into a mold.

What happens is: you’re writing what you want to. You’re moving in a number of different directions, because you’re deploying imagination.

Even in journalism, this happens, because there are many ways to present the same set of facts.

The advice is this: don’t pull back. Don’t try to stick a peg that has 16 sides and spikes and ornaments and asymmetrical grooves into a round hole.

Finding a cogent way to communicate comes later. If you start there, you cut yourself off at the knees. You squash your own adventure. You lose.

If you start out on road A and suddenly realize you want to make a sharp turn into a bumpy field, do it. Cross the field. You’ll see a winding path into the mountains. Take it. Half-way up, you’ll come upon a pristine lake. Jump in. Underwater, you’ll find a portal into a lost tunnel. Enter it and follow it all the way to a buried city…

If you opt for simplified boiled-down form right from the beginning, you’ll never know there was a lake and a tunnel and a buried city.


power outside the matrix

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

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


Here’s a story of mine. I print it to show you what can happen when you go where you want to. It may not reflect where you want to go, but it should give you some idea about leaving conventional symmetry and tiresome plot line and typical narrative flow in the dust.

Robots love simplified symmetry, harmony, perfect balance. They love it over and over and over.

We’re not robots.


Illusion Breakdown

~a short story~

by Jon Rappoport

Is history a thing that repeats itself, a cell that reproduces? Can we break out?

—A local scribe wrote about the outcast, the outsider:

Just like his father, they said, when he went over the hill and down into the mine, but when he came back up, his face shining, his bare arms clean, unblistered, untouched by the heat and the pain, they shrank away from him as if he had been cursed, and shunned him in the tavern and the marketplace and the church, and his family cast him out and he took up residence in an old half-burned cabin at the edge of town.

He went back down into the mine every morning, and he was never affected. His fellows avoided him.

This was all a great mystery, and a few of the men went to the priest and asked him about it. An old man who only seemed to come alive on Sundays, when he lit the candles and intoned the ceremony of sacrifice, he shrugged and said it was the way of the Test, and could not be interpreted.

The Test was obscure, it never spelled itself out, it never intruded in any visible fashion, or with signs.

The young outcast, living apart in his cabin, went down into the mine and brought up his share of the universal vapor every day, riven out of the rocks, and took it in his sealed buckets, as all men did, to the representative of the absentee owner in the shipping station, where foreign agents oversaw its transport, by train, to the pleasant happy villages all over the countryside of the former Earth colony—for many centuries now, independent.

The outcast sat outside at night, on the barren ground, and laughed like a fool. He ran on the hills in the deep darkness, as if he might take off and fly above the cottages and the cattle pastures.

He never questioned who he was or why he was here. When he slept, time dissolved and then he awoke fresh and with new energy.

Finally, the men planned an attack, because it was, they earnestly believed, warranted. How could they live alongside the young man?

He knew it was coming. On an evening, he went to his family home and spoke to his father and mother and his sister. They were silent before him. He said he was going to make a stand and they should ignore what was going to happen. They should simply go on. Then he left.

At his cabin, he built a small fire and brought dry grass and set it in the flames. He made a path of grass to his front door. The fire spread and it caught on the wood of two posts and climbed them and moved to the walls. Within a short time, the whole cabin was engulfed.

He heard the men approaching in the dark. He felt their anger and their madness.

When they emerged into the aura of the burning cabin, he stepped into the flames and ignited.

They shouted and screamed. They ran toward him. They stopped and watched as the fire consumed him.

Eventually, there was only smoke.

And he stepped through it, whole. Untouched.

They wanted to flee, they wanted to die. They were riveted in place.

He said: “Every day you go down. You chop and hammer at the sanctified rocks. You release the vapor of suffering, because it is the law. You deliver it in your buckets to the agents, and they send it to the happy villages and pour it into the air, and the people slowly shrink into a state of misery and sickness, because that, too, is the law, the faith. You believe it is part of the Test. Nothing can shake your belief. But now I’m here. I deny. I refute. I’m as you were, before you drove yourselves mad. Once, this was a colony, and then we gained our freedom and knew what it was to live. But the owner came, he had his men dig the mines, you went down, and slowly the plague took over. Remember?”

Silence.

The men fell on the ground in front of him, and with the eyes of supplicants, mutely asked for forgiveness.

No,” he said. “I’m not your priest or some phantom.”

He walked away from them in the night.

All these years later, he is still gone.

No one has heard of him.

Now, they light candles and go to the spot of his immolation every Sunday and pray and leave offerings.

The church has crumbled, and the priest has died. This is the only place of worship.

The men go down into the mines every day. And bring up the vapor.

A few try to remember what they were before the great suffering.

Before they participated in the great poisoning.

—The legendary elements in what you’ve just heard, ladies and gentlemen of the court, are pure nonsense, of course. The written account, penned by a local scribe, was discovered by our field operatives. It’s in my training manual for the mission.

The mines are quite real, but they produce a rare mineral growth factor that obviates the need for developing costly hybridized crop variants.

The growth factor enables major increases in food output.

I came in low over the company town, locked in the “immolation” memorial, and incinerated it. Those were my orders.

The prosecution asserts that I illegally destroyed a heritage site, without my employer’s knowledge. This is patently absurd. Why would I travel all that way for such a purpose?

I’m a registered employee of Religion Inc. Churches, which as you know, maintains an exclusive contract with the Earth Council, for Sectors One through Seven. No other religious organizations are permitted to conduct business in that area.

Doesn’t it stand to reason that my employer issued the destruct order and I merely carried it out in good faith, in a perfectly legal fashion?

Mission orders are held at corporate headquarters, as are training manuals, for security reasons. So I can’t lay before you proof that I was on the books for this operation.

My employer has deniability. Because my attack on the memorial has caused a local uproar and a strike of the mine workers, Religion Churches Inc. has thrown me to the dogs. They hope to avoid negative publicity.

I’m not here to plead for mercy. I’m here requesting justice.

—Sir, the court requires, in cases of this nature, that the defendant provide evidence of work status. You have failed that standard. Religion Inc. Churches shows no record of your employment during the period in question. Therefore, we are compelled to consider you an independent operator.

You admit to the mission. You carried it out. The penalty is clear. Your accounts and assets will be stripped. Those funds will be used to defray, in part, the expense of sending you to the place where the crime was committed, where the people of that jurisdiction will determine your sentence.

—After much debate, we the assembly of the town, in these proceedings, make a unanimous ruling that you will be sent down, among us, into the mines for the remainder of your life. Your labor will never repay us for your sin, but at least we will make use of you for a good purpose. In this, we show mercy. It is not our bent to seek vengeance.

We believe that our absent prophet would concur. We attempt to understand his heart in all rulings.

—I have been going down and coming up for two years now. I watch others grow ill and die, and I feel myself growing weak. They do not seem to understand what they are doing and what effect it has on them. They are consumed by a sense of obligation to their legendary prophet, although judging by their Myth, I can hardly imagine why he would want any of them going into the mines.

Apparently they believe he was revealing and demonstrating a supernatural immunity to harm. They say the mine vapors are emanating from a fire in the center of their asteroid, and fire is a symbol of his immolation. On that basis, the vapors are holy.

I have seen and experienced the truth. There are no rare minerals in the mines. This has nothing to do with improvements in agriculture technology. This is a mysterious program to spread poison.

Twice a year, they permit me to transmit messages to my former employer asking for intervention and a supreme reconsideration. I have received no replies.

—every night when he comes up from the mine, guards take him to an office at the shipping station and lock him in for the night. He looks haggard, but he is quite handsome. I want him for myself.

None of the other eligible men please me. He has a force about him. This is what I need. His legend is much lower than that of our prophet, but it appeals to me. Both he and the prophet, in their own ways, wrought destruction.

We women know, even if our men do not, that destruction is our destiny. But rather than endure it in small doses, I would have it all at once. If they catch me with him, they will exile us to the ice caps. I am willing to take the chance.

—I’ve met a woman. She and I have been together. I believe she is pregnant. The trouble from this could be fatal for both of us and our unborn child.

—Years ago, they exiled my mother and father to the ice caps. But they kept me among them.

The absentee owner maintains and spreads the story that the mines are a source of minerals for food crops. But of course, this is false. The vapors are poison. My people have been suffering from their religious fantasy for untold generations.

There is no understanding it. But I can perform a feat that will challenge them. I can risk everything. I can stand in the center of the strongest underground vapors, breathe them in, and if I survive, I will become a miraculous figure to them, a prophet. And then I can tell them the truth.

—Ladies and gentlemen of the court, I am an employee of Religion Inc. Churches, despite what you have heard. Recently, a boy sacrificed himself in the mines of a distant asteroid, and the people of a company town built a crude pasture memorial in his name. This, of course, by the terms of the Colonization Directive, is illegal. No other religions are permitted to practice in that Sector.

So I was ordered to make a flight and incinerate the site. I did this. I carried out the mission. In the aftermath of local riots and protests, my employer decided to avoid negative publicity by casting full blame on me. They have labeled me a rogue operative. This is patently absurd. Why would I commit this act on my own?

It is apparently not the first time an immolation has occurred on the asteroid, although the record is obscure. And there is a spotty history of the region that alludes to a prior mission, launched by my employer, to incinerate the site of another memorial on the very same asteroid.

If there is a pattern of corporate crime, it needs to be investigated before you pass judgment on me.

—I am now working in the mines. I was shipped here so a local verdict could be rendered, and this is the outcome. I go down every day, with the townspeople, and bring up the poison vapor.

A woman has approached me in secret. She wants to have a child. She is quite deluded. She claims this child will have magical qualities.

Does it matter what she thinks? We are all desperate, and if we can find a little pleasure in our suffering, so be it.

—Years ago, my parents were exiled to the ice caps. The people of the town kept me here. There is probably nothing new under the Dome, but I have an idea.

I am now working in the local office of the absentee owner. I have never met him, but I am quick and bright, and I believe I can be promoted from this outpost to his home headquarters, wherever they are. Once there, I can discover the details of his business and expose them. If I am lucky, the news will spread out to the wider Sector and cause an uproar.

The other day, I came across a file that presented a clue.

It seems the absentee owner’s company, which undoubtedly operates under many names and subsidiaries, is licensed on Earth as Religion Inc. Churches.

They appear to hold a monopoly on worship in Sectors One through Seven. So perhaps my father was, in fact, working for them when he flew over and incinerated the pasture memorial.

But if Religion Inc. is also in charge of our mines, they are directing the operation to spread the poison vapor.

A religious monopoly; destruction; sickness; plague.

Is this what faith has come to mean?

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 emails at www.nomorefakenews.com

The hidden paranormal people

The hidden paranormal people

by Jon Rappoport

October 31, 2013

www.nomorefakenews.com

Conventional physics argues that all the tiny particles which make up the universe are:

neutral and unconscious and dead—

And yet, say these same physicists, the brain, which is only a collection of such particles, is conscious.

The absurdity of this contradiction can only be sustained by monopolistic authority.

Consciousness is as non-material and paranormal as paranormal can be.

Without it, obviously, we would not be communicating right now. We would not be here. We would not Be.

Categories like telepathy, ESP, clairvoyance, and telekinesis don’t tell the whole story. They’re just a pale reflection of the fact that Existence itself is paranormal.

Consensus reality, on the other hand, is a stage play based on the notion of “normal.”

So here we are, and we’re all paranormal, and we’re living in a normal world. If that isn’t a joke, if that isn’t a sickness, if that isn’t a conspiracy, what is?

The Matrix can spawn one Agent Smith after another, like a machine turning out products, and still the incalculable and magical fact of consciousness endures beyond the machine.

The stage play called reality is dedicated to top-down control, because consciousness, if unleashed as creative power, if allowed to flourish, would explode the stage flats and take us out into an open sky of such varied magic it would ring in a multiverse of unpredictable beauties…none of which require supervision from the psychopaths behind the curtain.

Making life into a machine is the goal of elites. We, on the other hand, see something else.

We don’t need to define what that is in a lab. We certainly don’t need to develop algorithms that purport to define what we are.

…Forty years ago, I was hired to tutor a young girl in arithmetic. She was having trouble with long division. She was in sixth grade, and she couldn’t do division. This is what I was told.

So one night I walked into a very large house in West Los Angeles. The mother, tall and thin, a remote ghost, led me into a cavernous living room, in the center of which sat her daughter, at a small table.

The mother gestured vaguely and glided off into unknown rooms and left the two of us alone.

I sat down. I gave the girl a couple of division problems to work, and she couldn’t. She grimaced.

Don’t worry,” I said. “We’ll fix it.”

I asked her to explain what she was confused about. I wanted to get her to talk. She thought about it and recalled a few experiences in arithmetic, from third grade.

I sat there and listened. As she talked, she raised her head and started looking at me. There we were, in a huge quiet house, a dead house, two people, two strangers.

Something clicked. She began smiling.

She said, “I can read very well, but I can’t do division.”

I smiled, too, because it seemed there was a joke here, and it had nothing to do with math. It had to do with her whole life, the house, her parents.

Neither of us quite knew what was going on, but we were in the moment.

Without thinking, I said, “You’re in prison.”

She laughed.

I said, “Right now, I don’t know why but I feel like I’m in prison, too.”

We both laughed.

That was all it took.

I brought her back to the beginning of division, started from the bottom, and we worked our way up to more complicated problems. It took about an hour and she was fine.


Exit From the Matrix


I felt like we were two undersea divers, our oxygen lines were crossed and pinched, and we’d worked out the kinks. We could breathe again.

After that, we talked about her school, my days in school, teachers. She mentioned tomatoes. She said she was growing them in the back yard.

She took me through a few large rooms into the yard, turned on the pool lights, and we walked along a path to her garden, by a high fence.

The vines were tall, and the red tomatoes looked splendid.

We walked back and sat down at a table by the pool and looked at the water. All of a sudden, things shifted. The night sky was wide open. I could feel the air on my face. I could smell flowers.

It’s a nice yard,” I said.

She nodded. “I’m reading everything Charles Dickens wrote,” she said.

Why?” I said.

Because it doesn’t seem to end,” she said.

I thought about it.

Some things are like that,” I said.

No,” she said. “Everything is like that.”

I looked at her.

She was smiling. Her face was radiant.

Remember what you just said,” I said.

I will,” she said.

She put out her hand. I shook it.

That was the end of the lesson.

I’ll always remember it, too.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

The paranormal as an object of ridicule, scorn, and fear

The paranormal as an object of ridicule, scorn, and fear

by Jon Rappoport

October 29, 2013

www.nomorefakenews.com

If you want evidence that paranormal abilities exist, Dean Radin’s groundbreaking book, The Conscious Universe, will supply it. Radin examined hundreds of well-formed lab studies and concluded that the performance of human volunteers demonstrated, statistically, such abilities.

But this article is not about that. Nor is it about woo-woo people who see extra-sensory influences everywhere.

In movies, the paranormal is usually presented as horror, something that jumps out of the wall and attacks people.

Otherwise, “paranormal” is used as a term of scorn, like “conspiracy theorist.” It refers to people who should be isolated from the general population, for fear they’ll spread contaminated delusions.

The media transmit this scorn and ridicule by choosing the most bizarre stories:

A Biloxi bus driver told a local reporter, “While I was eating a hot dog in the corner coffee shop, an invisible Martian snatched it away from me and shoved it in his ear.”

Underlying all this nonsense is a core subconscious anxiety about consensus reality: it may be a sham.

The laws of physics may be provisional and subject to suspension.

And worse yet, there may be people among us who have experienced what happens when these laws are suspended.

People may have experienced telepathy, accurate glimpses of the future, and other “illegitimate” phenomena.

We need police to squash these happenings.”

Well, we have them. Friends, neighbors, family, co-workers, scientists, teachers, pundits. Which is to say, those who collaborate to sustain consensus about what is possible and what is not.

And then, to put the cherry on this cake, we have various “people of faith” who twist that faith and label anything that borders on paranormal: demonic influence.

They will also tell you that whiny adolescents who picked up and fell in love with a rather dreary novel, Catcher in the Rye, came under the control of The Dark Prince.

Putting all this aside, paranormal means: you tapped into life beyond the belief-network of the collective. You went farther.

And that’s the problem for the collective. That’s the only problem. You found a hole in their waking dream. You walked through it and found yourself connected to something more.

Their waking dream is political, economic, and social, but it is also scientific. Their science, which conceals its own lunatic and unproven assumptions about the universe, denies “the farther shore.”

And here I want to mention an ignored aspect of the paranormal. Paranormal isn’t merely isolated gray moments of “weirdness.” It’s full-bodied and emotional. It has a joy to it. It reestablishes more of yourself.

It comes as something whole. It’s alive.

And in the same way that a child learns to repress his own natural exuberance, because it contradicts the crazed low-level conformity of the group, people who do, in fact, experience (and create) the paranormal often feel compelled to repress their full-blooded emotions.

If, on the off-chance, they are willing to admit they had a telepathic connection or saw into the future, or spontaneously healed, they’ll shy away from confessing to the thrill and the ecstasy of it.

But that thrill and ecstasy are as natural as rain. They’re part of what we are. They’re the ground of being. They’re what we are, on the other side of the stale waking dream.

There is nothing spooky about the paranormal, except in the movies and in minds riddled with fear, minds repeating the mantra: there is only the ordinary, only the ordinary, only the ordinary.

Whereas the fact of Existence itself is paranormal.


Exit From the Matrix


The Pentagon (DARPA) is working on a new program, using implants, to study in real time the signals the brain is emitting. This is a whole different animal.

Its announced medical use covers a motive that has to do with control & operation over soldiers. As usual, the mainstream scientists are looking at automatic reflexes.

True paranormal ability takes place beyond the brain. It is a voluntary creative impulse that starts in a non-material space. That’s where the action is.

And that’s where scientists fear to tread. Their entire orientation is locked-down repeatable cause and effect: the arena for dullards.

There are also research efforts to study and pinpoint and analyze imagination. These absurd programs are, of course, focusing on the brain, with the hope that eventually machines will become the new artists.

Well, machines can already create, if by that you mean rearranging data and image and word and symbol into endless numbers of patterns.

But that isn’t what art or creating or imagination are. And that isn’t what paranormal is about.

Some years ago, I interviewed a man who had scored quite high in a lab experiment testing for telepathy. I asked him how he succeeded. He said he imagined a secretary sitting in an office in Nebraska…and she supplied him with the right answers about what was being telepathically transmitted to him during the test.

Why a secretary?

Because, he said, a secretary in Omaha would be very sincere and would never lie to him.

I still laugh about that one. Try producing such an outcome with computers and brain signals.

If you think you can, I have condos for sale on Jupiter.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com

The ghost and the machine

The ghost and the machine

~a short story~

by Jon Rappoport

October 23, 2013

www.nomorefakenews.com

On a fall day in 2043, in a little town called Donut, outside Federal City, Kansas, a man called Dr. X, who worked for DARPA, the Pentagon’s advanced tech branch, clicked a mouse.

Instantly, 90 million invisible electromagnetic arches sprang up out of nowhere across America.

The arches spanned highways and streets and roads; airports, train and bus stations; government buildings; office skyscrapers, malls, plazas; military bases and police stations; houses, apartment buildings, hospitals; national border crossings.

These arches hummed quietly with energies that “represented” three central ideas. The energies were translations of those ideas:

GIVE EVERYTHING TO EVERYBODY ALL THE TIME;

OBEY THE GOVERNMENT;

BE HAPPY.

Through an ingenious series of algorithms Dr. X and his team developed, every human who passed under the arches was read and probed, to determine whether he/she resonated with those three fundamental precepts.

Every human was subsequently labeled with AGREE or DISAGREE, as a final judgment.

The DISAGREE persons—their names and personal information—were instantly registered at an NSA facility in the desert outside Las Vegas.

Surveillance on them would be stepped up. In many cases, they would subjected to forms of electronic harassment.

For the first month of the new program, Dr. X and his people were jubilant about the results. Everything was working smoothly.

Then, on the 41st day, something happened. A man walking along a road outside Santa Barbara, California, passed under an arch and …the DARPA sensors recorded nothing.

They didn’t record AGREE or DISAGREE.

Impossible, but true.

How can that be?” Dr. X said to his team. “It’s one or the other.”

Three days later, a preliminary assessment of the man came back to him:

This person appears to exceed all the parameters of our system. He’s essentially a ghost. He operates on ‘other frequencies.’”

Dr. X pondered the implications.

This man,” he wrote, “neither assents or dissents from the three basic precepts. He has no humanity. He’s his own kind of machine.”

The order went out, and the man was arrested in his apartment and brought to a testing lab in Bethesda, Maryland.

Dr. X oversaw multiple scans done on his brain. They revealed a number of extraordinary and unprecedented patterns.

After a few sleepless nights, Dr. X came up with a revolutionary idea. This man could become the template for a new human. An “entirely dead but alive” model.

If every person on Earth could be electronically adjusted to resemble “the ghost” in all ways, there would be no need for surveillance or harassment. The whole planet would live as docile specimens forever, under the leadership of the chosen ones.


Exit From the Matrix


It took six years to convince the major power players to go along with the plan, but the payoff was so great, how could they refuse?

And so, on July 4, 2056, after a) the invisible arches had been extended to every corner of the world, and b) the output of the arches had been altered radically, so they would change the brain activity of every human at a deep level, to match “the ghost,” Dr. X clicked his mouse for a second momentous time.

Except that…he and his colleagues had made a grievous error.

The man walking on a road outside Santa Barbara, the ghost, the non-responding “dead man,” was not dead at all.

In the lab in Bethesda, they had tried to make him talk, but he wouldn’t utter a word. They didn’t want to coerce him, for fear that they might injure his state of mind. They wanted to keep him in a pristine state so they could study him further.

But the man was being silent because he was utterly uninterested in his captors. He wasn’t addled or ill. He wasn’t crazy. He wasn’t cold. He wasn’t a criminal.

He wasn’t brainwashed. He wasn’t under some spell. He wasn’t a machine.

He was of a quality that had long been forgotten.

He was merely free and independent, going his own way, as preposterous as that might seem.

And so when Dr. X clicked his mouse for the second time, he triggered billions and billions of buried memories in billions of people.

Memories of being free.

The response to this was uneven, to be sure, but the net effect was the explosion of what later came to be called, “an era of fertile chaos.”

Life was never the same.

Control was never the same.

These two sentences are engraved on the headstone of Dr. X who, after his suicide, was buried in a field in Kansas.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com