by Jon Rappoport

July 25, 2019

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Living through and by imagination is a path.

But no one defines it for the individual who is moving along it. No one lays it out. No one is in charge of “the end result.”

And no one explains exactly what discoveries will be made along the way.

Philosophies, metaphysical and spiritual systems, and religions are all about content. They fill in “the reality behind the reality.”

They depict places you will arrive, and what you will find when you get there. They present cosmologies. They paint pictures.

They tell you what you must do and avoid doing, in order to see what they see.

But the secret behind the secret behind the secret is: you see what you see. You see what you imagine and create and invent.

It’s your substance and content. It’s your painting. You’re painting it.

You do the imagining.

Why is this a spiritual path?

Because as you go, answers to questions you have will spontaneously arise. Answers to the big questions.

This is a side effect of living through and by imagination.

But again, these will be your answers. They aren’t prepackaged.

In fact, you may find that the answers you’ve previously accepted as final and ironclad turn out not to be your answers at all.

Living through and by imagination means that you create and invent what you most profoundly want to create. Not just today, or tomorrow, but on and on, without end.

It is a path. It has no conditions attached to it. You aren’t obligated to believe in some particular thing in order to embark on it.

The history books and the spiritual books don’t mention this path. Those books have already decided what paths they prefer, and what the end result should be.

A creator creates. The process and the engagement produces multiple realities that never existed before. New spaces, new times, new energies.

New life, new future.

(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 29^th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

by Jon Rappoport

July 22, 2019

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“After the final no there comes a yes and on that yes the future of the world hangs.” — Wallace Stevens

What would happen if the world were enveloped by art? And if we were the artists? And if we owed nothing to any hierarchy or external authority?

Art is a word that should be oceanic. It should shake and blow apart the boredom of the soul.

Art is what the individual invents when he is on fire and doesn’t care about concealing it. It’s what the individual does when he has thrown off the false front that is slowly strangling him.

Art is the end of mindless postponement. It’s what happens when you burn up the pretty and petty little obsessions. It emerges from the empty suit and empty machine of society that goes around and around and sucks away the vital bloodstream.

Art destroys the old order and the new order and the present order, with a glance.

Art spears the old apple on the point of a glittering sword and opens up the whole rotting crust that has attached itself to the tree of life.

It shrugs off the fake harmony of the living dead.

Fueled by liberated imagination, it is the revolution the psyche has been asking for.

Art unchained becomes titanic.

There are artists like Stravinsky, like Gaudi, like the composer Edgar Varese, like the often-reviled American writer Henry Miller, like Walt Whitman (who has been grotesquely co-opted into a Norman Rockwell-like prefect), like the several great Mexican muralists—Orozco, Rivera, Siqueiros—all of whom transmit the oceanic quality.

As in, The Flood.

There is a fear that, if such artists were unleashed to produce their work on a grand scale, they would indeed take over the world.

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

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

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

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

But creation is not neutral.

It flows out into the atmosphere with all its subjective force.

It is the transformation we have been unconsciously hoping for, the revolution that would relentlessly make society over, that would eventually shatter the influence of all cartels and monopolies of physical and emotional and mental and spiritual experience.

Not because we wished it were so, but because we made it happen.

(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 29^th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

by Jon Rappoport

July 8, 2019

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It’s no accident that the concept of individual power is surrounded by clouds of timidity and fear and cultural resentment.

People are warned that touching it produces a substantial electric shock.

“Me? Individual power? I never said I was in favor of it. Great individual power? Don’t pin that on me. Who’s accusing me? I’ll sue them! I’m for humility in all things.”

Perhaps the most famous statement ever delivered on this subject came from Lord Acton (1887): “Power tends to corrupt and absolute power corrupts absolutely.”

For many, this closes the book on discussion.

But in fact, it is a wobbling prelude.

What about the creative power of the individual?

Especially, what about that power when it is deployed by a person who has a personal code of ethics?

What if that code is summarized in the simple statement: I am free to do what I want to, as long as I don’t interfere with another person’s freedom?

We’re not talking about what happens when a king has a position of ultimate authority. That throne, of course, carries with it an implication of interfering with the freedom of the king’s subjects. The corruption is there from the start.

But the creative power of the individual, his goal to exert as much power as possible to fulfill his desires in the world, to launch and sustain an enterprise of his own choosing, to imagine and extend the reaches of such an enterprise—suppose he possesses ethics—suppose he refuses to interfere with, and override, the freedom of another person.

Many people have a fear of their own creative power, of what they would do if they removed the constraints on their own “proper place in the world.” Therefore, because of that fear, they oppose others having power.

Organized religion has always stuck its nose into the drama as well. What a religion claims is the ultimate power, and where it comes from, is inserted into the mix. A religion always assumes its picture of the Deity is the correct one, AND IT OWNS THAT PICTURE.

The notion of unlimited individual power, backed up by personal ethics, is anathema. It threatens the spiritual monopoly. So the religion invents cautionary tales that pile up into the sky.

One of the tales, time-honored, and adopted in one form or another by governments and “humanitarian groups” is: people are inherently weak and greedy, so allowing them to exercise ANY kind of power at all is madness. Instead, power must be managed by “the people,” by “those who care,” by “the needs of Mother Earth,” by “the Universe,” by “socialists,” by “economic and political planners (technocrats),” by “the oppressed (it’s their turn),” by “the big We,” by “international cooperation,” by “a wise global court (who runs it?),” by the man in the moon, by the beneficent aliens from the Galactic League…

Then there is language manipulation. An individual seeking to imagine and create his most profound dream as fact in the world is “acting like a god”—and that is a cardinal sin of the first order. (Therefore, be humble, be weak, be passive. You’ll earn a cosmic gold star on the blackboard.)

Or such an individual (wanting power) must be “a greedy capitalist,” representing “the worst system ever devised for human interaction.”

Or such an individual is “dangerous,” because “he places his needs before the needs of others.”

Or such an individual is “mentally ill,” because no one in his right mind would display such confidence in his own vision of his future.

In every case, the people behind promoting these perverse distortions want to wield power over others themselves. Quite a coincidence.

They’re always playing a shell game. They’re trying to take power from the individual and transfer it to themselves or those they support.

They always assume they know who “the good people” are, the people who won’t abuse power.

To put it in a slightly different way, they believe they don’t have the capacity to create and build an enterprise based on their deepest desires, if left to their own devices. Therefore, no one else should be allowed to.

They have no substantial ethics. Therefore, no one else has authentic ethics, either.

This discussion moves into the realm of “the many” vs. “the few.” It goes this way: suppose there are a few individuals who can, in fact, take their most profound vision and turn it into reality. They are the exception. For most of humanity, this is impossible. THEREFORE, stop the few. Why? Because their ability is inherently unfair.

That argument, rarely voiced, champions “democracy” as the lowest common denominator. Lift no one up. Instead, sink everyone in a shared swamp.

These days, this perverse approach has added a new topping: every difference of talent, will power, determination, ambition, imagination, creativity, refusal to surrender is a sign of privilege. Privilege is society’s bias. Eliminate it, thereby eliminating all the above qualities.

Then what remains? Nothing of substance.

If the independent individual looked ONLY outward to discover what standard he should uphold, what voice he should adopt, what theory he should cling to, what behavior he should imitate, he would cease being what he is in an hour.

He would order himself to stop thinking about power.

Individual power: Within it can be born great achievements and futures.

(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 29^th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his OutsideTheRealityMachine emails here.

Magic to the nth, bye bye universe, hello again

by Jon Rappoport

June 19, 2019

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The inspiration for this article came from the only productive conversation I’ve ever had with a student of ancient Tibetan practices.

Back in 1982, I was just building up momentum as a journalist for LA Weekly, writing a flurry of articles on nuclear-weapons issues. I met a few doctors who explained radioactive fallout spread to me, with maps and charts. One of the doctors brought along a friend to a meeting, a bright woman who was between teaching jobs.

She mentioned John Blofeld, who had authored a book about Tibet I admired. After the meeting, she and I had coffee at Zucky’s, in Santa Monica, the old deli that had been open 24/7 for decades. It was a home away from home for all sorts of light-night LA denizens.

We sat at a table and talked until dawn. The upshot of the conversation was: if, as the Tibetans used to say, universe is ultimately a product of mind, and if the individual can imagine and create other universes, where does that happen? Is it important to leave this physical reality to do it, do you do it right here, and if you manage to leave this reality, do you come back?

Quite far-out engaging stuff. It was like collaborating on a science-fiction story. She’d had a number of experiences doing a version of the Tibetan practice called deity visualization (dv). So had I. We compared notes. Especially about time and how it changes during dv.

I told her that once, I had entered a “time channel” that reminded me of the swiftness and happiness of my favorite movie comedy, His Girl Friday. Cary Grant, Ros Russell.

She said, “Have you ever watched a movie and discovered that the actors on the screen were real?”

“You mean, more than images?”

She nodded.

“More than my subjective impressions?”

She nodded.

“Yes,” she said. “Alive.”

Well, that part of the conversation took us through breakfast.

I left Zucky’s with the feeling that a person’s most remarkable and impossible experiences tend to gather dust, unless there is a way to share them. Otherwise, the colors fade; the feelings recede. I vowed not to ever let that happen again.

I’ve kept that vow.

So here we go…this piece is a kind of excursion that traces a leaping line of thought/experience I’ve reflected on many times. It’s the jumping-off point for my 1999 book, The Secret Behind Secret Societies. It’s for you, Margo, wherever you are, whatever you’re doing, and for Zucky’s, long gone, where we brought ancient Tibet back to life one night. It and Zucky’s still live…

People want to say they understand reality.

Or sometimes they want to say they don’t have a clue.

Depends on the situation. And on how they feel.

They can go either way with it.

And they’re right, you can approach reality from both directions. If reality is an egg, you can peel it and break it open and look at it and eat it. As soon as you do, another hardboiled egg appears on the table. And you can break that one and eat it, too. And boom, another egg. Or you can pretend, in the first place, the egg is an impenetrable mystery and just stare at it for a few centuries…

It’s fun, for a while.

But then you run into something like this:

“…Because today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups. So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of mind. I ought to know. I do the same thing.” — Philip K Dick, “How to Build a Universe That Doesn’t Fall Apart Two Days Later,” 1978.

There are interesting story lines to consider—for example, a human approaches and meets the highest level of reality-manufacturers and discovers exactly what the hell is going on.

But I’m not talking about the political, economic, media, medical realities, I’m talking about UNIVERSE-generators, the folks who bring you this whole physical apparatus, the space-time tin can.

Absent, of course, the religious myths. Forget that. All that falls by the wayside right away. It’s just a cover story.

Obvious story line: Universe is an amusement park, with all the chills, thrills, and excitements of a Disney production…factoring in just the right amount of pain and suffering to give it street cred.

Better, the vacation scenario. You’re taking the spouse and kids to a new place, you buy the ticket, and you’re in. WELCOME TO UNIVERSE.

Of course, there’s a trick. The Roach Motel trick. Check in, can’t check out.

After about 20,000,000,000 lives, you’re indoctrinated, as they say.

The ancient Hindus realized there was something fishy about this setup, but they embroidered their insights to include “good reasons why” you shouldn’t be able to escape universe.

The whole karma shell game, the caste system, various hierarchies, running all the way up from microspore and ant to king of the world…

The religion story produces a lot of nonsensical static. You need redemption, you were a bad boy, you can’t do it on your own, you have to contribute to the building fund for a new pyramid or cathedral, your exit strategy must involve grindingly gradual ascension.

But hey, be a good little soldier, and drop coins in the box.

Some people buy into the squishy New Agey variation. We’re all one Glob of Consciousness Goo, that’s the final destination, take it easy, don’t worry, it’ll happen when it’s supposed to.

But see, the clue is:

some guys built universe, so why not build your own?

Trouble is, when you’ve lived in this space-time vacation spot long enough, you tend to forget your have imagination. That’s a drawback if you’re trying to create a brand new universe.

However…you can imagine you have imagination. Works just as well as the real thing. Truth is, there is no real thing. Imagination ultimately IS imagining you have imagination. I know it sounds odd, but there it is.

You just have to want it.

Physicists tend to get weird on the subject of universe. It’s expanding, it’s decaying, it’s the result of an explosion that came out of nothing and nowhere and still distributed titanic energy, it runs on twelve strings with no guitar player, there’s a bullpen where unused energy is stashed, you can’t destroy even one micro-micro of energy, ever, or that would somehow upset the whole applecart. They’re obviously troubled souls.

In one of the first interviews I did for LA Weekly in 1982, I talked with Bill Perry, who had just quit his cushy job as head of PR for Lawrence Livermore Labs. They do advanced nuclear weapons research there. One day, Bill passed by the desk of a guy who was fidgeting and frowning. He told Bill he was worried about cuts in the defense program. Bill said, “Man, don’t you realize we already have enough bombs to blow up the planet ten times?” The guy stared at him. Zero comprehension. “I’m a physicist,” he said. “I do research. I solve problems.”

Moving along…Ancient European magick was the premise that there was an exit door to universe somewhere. They would eventually show it to you if you submitted to initiation, professed eternal loyalty, and learned all the key words and symbols and ceremonies. Maybe a small cash donation could help. Drugs were sometimes employed. Becoming a slave earned you points.

Yes, there is an exit from the Grand Vacation in the space-time tin can.

But it’s not a magickal portal.

It’s you.

Always was.

That presents a problem to most people. They don’t like it.

Basically, they want to remain Small while exiting into Big.

Doesn’t work that way. Sorry. Nice thought, though.

“Yes, I want to move outside this universe through my TV set, while watching Law and Order reruns.”

Now, if you were sitting in a concert hall when George Carlin was up on stage, that would be different. A few years before he died, my wife and I saw him at an outdoor venue in San Diego. He was trying out new material for an upcoming HBO special. He did a ten minute piece on the end of the universe and his Uncle Dave. It was a stunner. I won’t try to describe it, but I think, if one wanted to choose that moment to wave bye bye to this whole Machine, it would have been possible.

Yet why would anyone want to leave universe? A facile answer might be: after a vacation you’d like to get home.

Or, you want to see what’s outside.

Or you’re tired of same-old same-old.

Or you want to obtain a platform where you can gain decent perspective on this whole vacation location.

You want to try to remember what it was like before you bought the ticket to the ride.

You want to be able to take off from, and come back to, Here. You want that freedom.

You want the kind of power that doesn’t need to operate (and shrink down) within the space-time continuum rules.

And you want to get rid of any stray vestiges of the enormous propaganda that goes along with this universe, the nonsense you’ve been absorbing in all the sorts of vacation brochures that attracted you in the first place.

But let’s not deceive ourselves. Getting out doesn’t mean you become someone else.

You’re still stuck with the fact that you have infinite imagination and infinite creative power. You can’t shuck that off. You might find a spot where you can sink into a couch and watch those Law and Order reruns and not have to worry about having a job or bringing home a paycheck, but amnesia will only take you so far.

Narcosis, amnesia, hypnotic trance—they fight the good fight, but in the end you will need to mount a major campaign to stay small. And even then, the programming tends to develop holes. You wake up one morning, and you look out the window, and you see a reflection of your own power on the horizon.

It’s a disconcerting thing, but hell, immortality has that downside.

So why not do something interesting right here and now? Why not imagine imagination and go for the Up? Like it not, there are a whole lot of oysters in the sea, and they’re possible worlds, and they’re yours.

No brochures, no salesmen will call, no killer fee, no packing, no crap to deal with at the airport.

Turns out that when you imagine and create widely enough and adventurously enough and intensely enough and long enough, the road you’re on, around the next bend, has an exit sign. You make the turn and you’re out.

You’re outside universe.

And you can come back.

When people say, without knowing why or what they’re talking about, that there is cosmic joke, this is what they’re really getting a whiff of.

Bye bye or hello, the wind is in your sails, the car is gassed up, the plane’s on the tarmac, the rocket’s on the launching pad. Ready to rip.

You can then push the discovery button, in which case you’ll embark on journeys that involve meeting many interesting people and creatures, some of whom want to burn you. Or you can do a super-galactic war of good versus evil and save the princess from her tormentors. You can glide into astral islands of grottoes, elves, trolls, lost crowns, hyperbolic wizards, sailing ships, and winged horses.

Or you can push the imagine button, in which case you’re the artist starting from scratch. Then you invent without limit.

Remember to lock up the house and set the alarm. Tell the neighbor to feed the dog. You may be away for a while.

There’s an interesting twist to this tale. Sometimes you think you’re in the space-time tin can and you’re really already out. Then, coming back can be quite a kick. Tells you something about why you bought the vacation package in the first place. Being here can be quite exhilarating. Especially if you’re not carrying around all the propaganda with you. As in, “Hey, shut up already. I know what’s in the brochures. Yeah, yeah, yeah. I’m enjoying myself right now. Take a walk. Go sell somebody else.”

Maybe 45 years ago, I was sitting in a movie theater in West LA. It was a Saturday afternoon, and I had walked from my apartment to the theater on a whim. The place was nearly empty. On the big screen, Liz Taylor and Stewart Granger were working through the plot of the costume drama, Beau Brummell. Granger (Beau) and Liz (Lady Patricia) were talking in a drawing room.

The film was a bore. For no particular reason, I decided to home in on the two stars. Focus in hard on them.

After a minute or so, something happened. I wasn’t looking at the movie anymore. I was seeing Liz and Granger, as if they were two ordinary people talking on the street. The fancy overstuffed drawing room, the costumes, the story—they were no longer propping up the artifice of the movie.

You know the old saw about the audience suspending disbelief, in order to accept the terms of a play? Well, I had reversed that. I was in such a diamond-hard state of disbelief, I came rushing into the moment like a freight train. And there they were. Not the characters on screen; not the actors. The two people. Spouting lines to each other. It wasn’t funny, it wasn’t sad, it wasn’t absurd, it WAS. Pure, real. The membrane that separated them from me was torn away.

It was like discovering a pirate’s treasure chest in a fast-food joint next to the cashier. Nobody else saw it. I saw it.

It seemed like it should be illegal. It wasn’t supposed to happen. I was aware some cardinal rule had been broken.

It occurred to me there is a main-event feature about the world and probably the universe itself that is based on permanent and continuing distraction. And now the distraction wasn’t there anymore. My mind was very quiet. I was sitting in the dark looking at two people on the screen.

Two people. Very bright on the screen and very clear. There was no movie left. The two of them were undeniably THERE.

The three of us were very alive: I in my seat, the two of them on the screen.

I could have heard a piece of popcorn dropping on a shoe a hundred feet away.

I kept looking at the screen.

What a marvelous thing. The two of them kept talking to each other, I kept watching them. I half-expected one of them to turn to me and tell me to go back to seeing the movie, I was intruding, I should stop.

In the dark space I was sitting in, the air felt cool and gorgeous. The two small side balconies were perfectly scalloped. The muffled sound of somebody whispering down front was clear as a bell.

Everything around me was brilliantly composed.

The raked slant of the seats, the heavy curtains at the sides of the screen, the downward angle of the aisle, the row of little yellow glowing lights on the aisle seats.

Ordinary, but now breathtaking.

Here, in the theater, in that extended moment, without anything added, was a sensational glorious place to be.

The day I met Liz and Granger.

You want to be able to exit, and you want to be able to come back. You want to be able to imagine and create worlds and universes beyond this one. You want to be able to do that from here, from outside, from anywhere. You want the thrill of being outside and the thrill of being here. You want to be able to see reality as ordinary and dull or brilliantly alive.

This is all possible.

This is all doable.

Civilizations always bet on the opposite, they keep doubling down and redoubling on the line that says: can’t happen. When they finally play out the string and see the extreme folly of their way, out of the gloom appear these ancient and present facts written on the sky:

You and I and everyone else is immortal and there is no limit, no boundary.

(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 29^th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.