by Jon Rappoport

August 1, 2017

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Ops involving information take many forms.

For example, let’s start with a simple “Sunday School” version that any child could learn in an hour. A smear campaign can be carried out by highlighting people who, on their own, already claim an “extreme position”—and then falsely tying those people, by association, to the person who is to be smeared.

Then there is the moving smear. When one charge you level at a person is proven false, or questionable, you add another one, and you keeping moving and piling on from many quarters.

This is more or less how the Russia-Trump story is being handled.

Let’s go to a “labeling op.” In this situation, public persons are pictured and given titles and attributes which, on closer examination, are false.

For example, former Wall Street lawyer, and supposed “socialist,” Eric Holder, rose to the position of US Attorney General. After his service in government, during which he prosecuted no one, no bank, for crimes committed in the 2008 financial meltdown, but instead judged them too big to fail and deserving of massive bailouts, Holder returned to the same Wall Street law firm to reap his rewards for services rendered.

Barack Obama, supposed “peace president,” carried out his two terms while waging war the whole time. As the left-wing Guardian reports, “[I]n 2016 alone, the Obama administration dropped at least 26,171 bombs. This means that every day last year, the US military blasted combatants or civilians overseas with 72 bombs; that’s three bombs every hour, 24 hours a day.”

If you have the press at your disposal, it’s rather easy to limit revelations like these to a few articles, and mainly portray politicians with false labels that are the opposite of what they actually are.

Now let’s move to a more complicated information-op. You claim the discovery of a new disease. You name it. You list the symptoms, which turn out to be identical to old disease—cough, fatigue, fever, weakness. You state you’ve found the virus that causes the new disease and this virus has never been seen before. No convincing proof of the existence or action of the virus is offered. But a vaccine and drugs are developed to “fight the virus and prevent it from causing harm.” Of course, the “new disease,” which is the old disease, has a shelf life of three or four days in a person who is not already immune-compromised. It fades out by itself. Over time, thousands of journal papers are written about “the new virus.” Eventually, no one cares. The new virus has become an old virus. Time to discover another “new virus.”

Here is a political information-op. Over the course of 80 years or so, two giant superpowers flex their muscles and their intelligence agencies at each other. Each intelligence agency puts out complex reams of true and false information about the enemy. Each agency sends “defectors” to the other side. Most of them “confess” to information which is false. This gives rise to a blizzard of reports assessing the value of the confessions. Each intelligence agency conveys false information to its own people, as well, to test for leaks and identify possible traitors. Eventually, the oceans of information generated for 80 years become impossible to evaluate, relative to truth and falsity. The “illusion-producers” are caught in their own illusions. Anyone with a shred of understanding knows this, but the game goes on anyway, in the overall labyrinth.

In the field of archeology/history, accepted time lines of societies are contradicted by numerous discoveries of artifacts and structures all over the world. These structures point to civilizations which have no place in official history books. So they are written out and ignored. Researchers who insist on exploring the artifacts and structures for clues are sidelined and banned from official publications. Vast libraries of studies proliferate, in order to bolster and add details to the accepted (false) story and sequence of world history.

These are merely a few information ops. Such ops exist wherever an official story of importance is promoted.

A serious investigator uses logic and imagination to expose a given op with specifics. Imagination plays an important role, because the investigator needs to conceive of potential strategies “the other side” is using to make its position appear correct and solid. The investigator then explores these possible strategies to find the ones that are actually in play.

This is what I did vis-à-vis AIDS in my first book, AIDS INC. For example, once I discovered that the definition of AIDS in Africa was nothing more than a grouping of symptoms that corresponded to hunger, protein-calorie deficiency, and outright starvation, I conceived a central op:

The virus, HIV, was being used a cover story to obscure decades of forced hunger and starvation.

I confirmed this was the case. How? By examining instances where fertile growing land was stolen from the people by local dictators colluding with giant agriculture corporations.

I also interviewed doctors off the record. They admitted they knew hunger and starvation were causing the “AIDS symptoms,” but they were afraid to speak out, because, as one doctor told me, “My salary puts me close to the poverty level. I can make three times as much money testing for, and treating HIV. That supplements my income…”

Information-ops follow a general pattern.

Brainwash the public by constructing a basic lie.

Confirm that lie with a mountain of false and misleading data.

Sell the lie.

Therefore, hide the truth about what is actually going on.

My Power Outside The Matrix collection provides the tools a citizen investigative reporter needs to dismantle information-ops.

(To read about Jon’s collection, Power Outside 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.

The good old days: Brian Williams, Diane Sawyer, Scott Pelley—and Salvador Dali

by Jon Rappoport

July 25, 2017

Salvador Dali, surrealist, was one of the most reviled painters of the 20th century.

He disturbed Conventional Folk who just wanted to see an apple in a bowl on a table.

Dali’s apples and bowls were executed with a technical skill few artists could match—except that the apples were coming out of a woman’s nose while she was ironing the back of a giraffe, who was on fire.

“It doesn’t go together! It doesn’t make sense! He’s Satan!”

Yet, these same Folk sit in front of the television screen every night and watch the entirely surreal network news. Elite anchors seamlessly and quickly move from blood running in the streets of a distant land to a hairdryer product-recall to an unseasonal hail storm in Michigan to a debate about public policy on pedophiles to genetically engineered mosquitoes in Florida to a possible breakthrough in storing computer simulations of human brains for later recapture to squirrels gathering nuts in New Jersey.

Nothing surreal about this??

Cognitive dissonance is imprinted on viewers’ minds. It’s the news. It must be normal, even if it’s quite insane.

The best of the best mind control is supposedly applied by the three major network anchors. Recall the old trio: Brian Williams, Scott Pelley, and Diane Sawyer. They’re all gone now. The junior varsity has taken over. David Muir, Lester Holt, and a permanent CBS anchor to be named later.

When the elite anchor goes on air and digs in, he’s paid to be seamless. He could be transitioning from mass killings in East Asia to sub-standard air conditioners, and he makes the audience track through the absurd curve in the road.

Then there is the voice itself. The elite anchor has a voice that soothes just a bit but brooks no resistance. It’s authoritative but not demanding.

Scott Pelley (CBS) was careful to watch himself on this count, because his tendency was to shove the message down the viewer’s throat like a surgeon making an incision with an icepick. Pelley was a high-IQ android who was training himself to be human.

Diane Sawyer wandered into sloppiness, like a housewife who’s still wearing her bathrobe at 4 in the afternoon. She exuded sympathetic syrup, as if she’d had a few cocktails for lunch. And she affected a pose of “caring too much.”

Brian Williams was head and shoulders above his two competitors. You had to look and listen hard to spot a speck of confusion in his delivery. He knew how to believe his act was real. He could also flick a little aw-shucks apple-pie at the viewer. Country boy who moved to the big city.

The vocal delivery of an elite anchor has to work minor poetic rhythms into prose. Shallow hills and valleys. Clip it here and there. Give the important words a pop. This is hypnosis at work. Not the cheesy stage act with three rubes sitting in chairs, waiting to be made into fools by the used-car-salesman type waving a pendulum. This is higher-class stuff. It flows with certainty. It entrains brains. The audience tunes in every night to get their fix.

That’s the key. The audience doesn’t really care about content. They want the delivery, the sound, the voice of the face.

Brain Williams could do a story about three hookers getting thrown out of a restaurant by a doctor celebrating his anniversary with his wife, and it would come across like the Pentagon sending warships into the Gulf.

Diane Sawyer couldn’t. That’s why Williams’ ratings were higher.

Segues, blends are absolutely vital. These are the transitions between one story and another. “Earlier today, in Boston.” “Meanwhile, in New York, the police are reporting.” “But on the Hill, the news was somewhat disappointing for supporters of the president.”

Doing excellent blends can earn an anchor millions of dollars. The audience doesn’t wobble or falter or make distinctions between what went before and what’s coming now. It’s all one script. It’s one winding weirdness of story every night.

Therefore, the viewer doesn’t need to think. This is the acid test. If the ratings are high enough and the audience isn’t thinking, we have a winner.

Corollary: the audience doesn’t notice the parameters of stories, how they’re bounded and defined and artificially constructed to omit deeper themes and various criminals who are committing outrageous crimes that aren’t supposed to be exposed.

Brian Williams, with just a bit of his twanging emphasis, could say, “Today, pharmaceutical giant Glaxo was fined one-point-nine billions dollars,” but he would never tie all the horrendous stories of medical-drug damage together in a searing indictment of the whole industry.

The audience needs to remain oblivious to this larger story. That’s the anchor’s job. That’s his underlying assignment.

It’s called, in intelligence circles, a limited hangout. You expose a piece of a crime, in order to transmit the illusion of “justice served,” while the true RICO dimensions are kept out of view.

Elite anchors are the princes of limit hangouts. That is their stock in trade. Sell the illusion of justice while concealing the bulk of the iceberg that is under water.

The audience can watch and listen to hours of coverage on revolutions and counter-revolutions in the Middle East, but they can’t suspect that the US and NATO are funding terrorists dressed up as freedom fighters, in order to destabilize and destroy nations in that region.

“More gunfire and explosions in the capital city today…”

Then there is a little thing called conscience. The elite anchor can’t have one. He has to pretend to have one, but it isn’t real.

Every year, the anchor covers dozens of scandals that are left to wither and die on the vine and fall down the memory hole, never to be seen again, except perhaps for a much-later task-force or commission report that equivocates and exonerates the major players.

The anchor is happy to deal with this. He’s happy to develop memory loss.

In editorial meetings at his own network offices, if someone mentions trillions in government bailouts to banks, he can frown slightly and thus impart, “It’s stale, it’s old, we already covered that, let’s move along.”

And when it comes to elites, to whom the anchor pledges allegiance, and with whom he occasionally hob-nobs? CFR, Rockefeller interests, Wall Street, Goldman Sachs, AIPAC, government-allied Big Medicine, and so on? Nothing to see, nothing to say. No problem.

Therefore, the viewing audience doesn’t suspect these controlling entities are doing anything wrong or, in some cases, even exist.

The elite anchor: “Conspiracy? Aw shucks, I really do have sympathy for the people who dig up this stuff. And I’m not saying all of it is wrong, either. But you know, journalism is about plumbing for facts and verifying them. That’s the hard truth we have to face in this business. Going on the air with a possible this and a possible that is ultimately irresponsible. If we who present the news feel an occasional impulse to wing it, we have to rein ourselves in. Restraint is part of our job…”

Show these jokers a few devastating books by Anthony Sutton or Carroll Quigley and they’ll nod and say, “I did read that one in college. It was interesting but a little thin, I thought…”

The anchors project a sense they’re doing science. Gathering facts, verifying, testing, repeating the study to see if it holds up, checking the checkers, confirming the sources, tailoring the assertions to make sure there’s no wandering off the well-researched path.

It’s part of the act.

The elite anchor has to impart the impression that he’s personally familiar with the events he’s reporting. That’s nonsense. He isn’t touching actual events with a ten-foot pole. He isn’t doing journalism himself. But the audience must think he is.

“Washington has been the scene of many battles. But the current tussle at the top of the fiscal cliff is becoming an exercise in outrage on both sides. Today, behind closed doors…”

Some anchors are managing editors of their own broadcasts. That means they sit around like newspaper editors and listen to lesser editors present the stories of the day. The anchors ask questions and pick and choose which pieces they’ll cover on the evening news, and they decide the sequence, but their hands never touch the events themselves.

It’s more illusion. A well-trained and literate high-school sophomore from Nome could go on air, with a decent haircut, and read the news.

But backed up by expert technicians, a good set decorator, and a pro make-up person, Williams, Pelley, and Sawyer gave people the kind of living fiction that has become its own genre.

Elite anchors have a dual aspect. They control minds and they also put themselves in a mind-controlled state, in order to (temporarily) believe in what they’re saying on-air. It’s all self-inflicted.

No need to censor stories from above. The anchors have a finely honed sense of what is permissible and what isn’t.

In early human societies, the story teller was a principal figure. He wove the tribe’s experiences into a coherent whole, and built layers of cosmology. Story tellers formed an elite priest caste and spun official metaphysical doctrine.

Today, people feel the same need for narrators: the anchors. Although these front men for the news no longer use metaphysics to control the masses, they do covertly obey the old rule: tell only part of story.

Guard the rest from public view.

In ancient times, the rationale for hiding key secrets was explained in terms of stages of privileged initiations into “the magic.” Today, millions of people are led to believe their news narrators are giving them everything there is. Other than anchors’ stories, there is nothing. So in this secular media religion, viewers think they have only two choices: swallow the news reality, or face a cold vacuum.

Their bottomless need for a story teller survives.

But…

Came the Internet.

And then the whole world turned upside down.

The networks began to realize they were made out of eggshells and cardboard, and the holes and fractures and disintegrating pieces were out there, on television, for all to witness.

As a veteran reporter who quit the business and went online told me, “Network mind control is expensive. You have to keep doing it every day. And that’s without competition. Now, competitors are everywhere.”

It takes a village. The “it” in this case is network news and the village is the staff and crew. But the village is experiencing typhoons. Once upon a time, crazy surreal mainstream television news required no apologies. But that entitlement has peeled away and blown offshore.

Independent online news outlets are catching up to, and in some cases, surpassing MSM audience numbers. And the content is quite different.

For one thing, the content often features devastating critiques of elite news. For example: The Washington Post, once considered (by the uninformed) an unimpeachable source, is presently owned by Jeff Bezos, the billionaire boss of Amazon. Amazon has a $600 million contract to provide cloud-computing services to the CIA.

This is more than a crippling conflict of interest. It’s a death rattle. Every story the Post publishes about the CIA, and every story that has a named or unnamed CIA source is as reliable as an antelope’s press agent justifying the extinction of all lions.

The NY Times’ daily attacks on Trump for his supposed Russian connections? Well, in 2015, the Times published a devastating piece detailing the Clintons’ role in selling 20% of US uranium production to Putin. But the Times conveniently refuses to follow up on its own story. Needless to say, if Trump had played such a decisive role in enriching Putin and transferring a top national-security resource to Russia, he’d already be wearing a prison jump suit and awaiting a firing squad.

Day by day, elite mainstream news is fading.

This is what happens to elitist authority, no matter how skillful their production.

Hypnosis leaks.

It’s not a perfect seal.

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

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 1, 2017

(To join our email list, click here.)

Network, the 1976 film written by Paddy Chayefsky, reveals what media kings would do if they unchained their basic instincts and galloped all the way into the madness of slash-and-burn Roman Circus.

Instead of concealing the staging of events, build the stage in full view of the audience, put actors front and center, and let them live out their impulses on national television.

The audience is jaded beyond recall. It needs new shocks to the system every day. The adrenaline must flow. The line between reporting the news and inventing it? Erase it. Celebrate the erasure. Watch ratings soar.

Why pretend anymore? Why spend countless hours preparing and broadcasting synthetic artificial news, as if it were real? Does the audience care about such niceties? The audience just wants action.

The film proceeds from these premises.

Arthur Jensen, head of the corporation that owns the Network, speaks to unhinged Network newsman, Howard Beale, who has revealed, on-air, a piece of the real power structure in a few moments of sanity:

“You have meddled with the primal forces of nature, Mr. Beale, and I won’t have it!! Is that clear?!… You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU WILL ATONE!”

Head of programming for the Network, Diana Christensen, shifts the whole news department over to the entertainment division.

Thus emerge new shows with soaring ratings: Howard Beale, [Religious] Prophet of the Air Waves; The Mao Tse-Tung Hour, in which a guerrilla group films itself carrying out armed bank robberies; and Sybil the Soothsayer, a Tarot reader.

Diana becomes the network’s new executive star.

There is no longer even a pretense of a need for news anchors to appear authoritative, objective, or rational.

Diana Christensen is unstoppable. She sees, with burning clarity, that audiences are bored to the point of exhaustion; they now require, as at the end of the Roman Empire, extreme entertainment. They want more violence, more insanity, out in the open. On television.

In promoting her kind of news division, she tells network executives:

“Look, we’ve got a bunch of hobgoblin radicals called the Ecumenical Liberation Army who go around taking home movies of themselves robbing banks. Maybe they’ll take movies of themselves kidnapping heiresses, hijacking 747’s, bombing bridges, assassinating ambassadors. We’d open each week’s segment with that authentic footage, hire a couple of writers to write some story behind that footage, and we’ve got ourselves a series…

“Did you see the overnights on the Network News? It has an 8 in New York and a 9 in L.A. and a 27 share in both cities. Last night, Howard Beale went on the air [as a newscaster] and yelled bullshit for two minutes, and I can tell you right now that tonight’s show will get a 30 share at least. I think we’ve lucked into something…

“I see Howard Beale as a latter-day prophet, a magnificent messianic figure, inveighing against the hypocrisies of our times, a strip Savonarola, Monday through Friday. I tell you, Frank, that could just go through the roof…Do you want to figure out the revenues of a strip show that sells for a hundred thousand bucks a minute? One show like that could pull this whole network right out of the hole! Now, Frank, it’s being handed to us on a plate; let’s not blow it!”

Television in the “real world” isn’t all the way there yet, but it’s getting there.

In Network, Diana Christensen personifies the news. She is the electric, thrill-seeking, non-stop force that is terrified of silence.

She lives and feeds on adrenaline. So does the viewing public. Nothing else ultimately matters. Ratings are the top line and the bottom line. The individual and his thoughts are completely irrelevant.

Howard Beale, over the cliff, a news man screaming on-air about the insanity of the news, is perfectly acceptable, because the audience is simply responding to Beale’s inchoate outrage and their own. Nothing deeper is explored. What could have resulted in a true popular rebellion is short-circuited. Beale becomes a crazy loon, a novelty item. Yet one more distraction.

When, in a brief interlude of clarity, he begins telling his audience about the takeover of society by mega-corporations, his show droops. Ratings collapse. Diana is no longer interested in him; she wants to sack him.

However, Arthur Jensen, the head of the corporation that owns the television network, wants to keep Beale on the air, as a messenger of the “galactic truth” about the beneficial integration of all human activity under the rubric of global money and global power. He converts Beale to his cause.

Diana sees only one way out of this ratings disaster: kill Beale; on-air; during his show. And so it is done.

Network also shows us the audience becoming actor, player, participant. The audience is jumping out of its skin to be recognized, courted, and adored as a mighty rolling force embodying no particular meaning.

Audience wants to be a star. Audience wants coverage; audience wants its actions to be shown on television. That establishes its legitimacy. Nothing else is necessary.

Diana knows it, and she is more than willing to accommodate this frantic desire, if only her bosses will let her go all the way.

The best film ever made about television’s war on the population, Network stages only a few minutes of on-air television.

The rest of the film is dialogue and monologue about television. Thus you could say that, in this case, word defeats image. Which was scriptwriter Paddy Chayefsky’s intent.

Even when showing what happens on the TV screen, Network bursts forth with lines like these, from newsman Howard Beale, at the end of his rope, on-camera, speaking to his in-studio audience and millions of people in their homes:

“So, you listen to me. Listen to me! Television is not the truth. Television’s a god-damned amusement park. Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We’re in the boredom-killing business… We deal in illusions, man. None of it is true! But you people sit there day after day, night after night, all ages, colors, creeds. We’re all you know. You’re beginning to believe the illusions we’re spinning here. You’re beginning to think that the tube is reality and that your own lives are unreal. You do whatever the tube tells you. You dress like the tube, you eat like the tube, you raise your children like the tube. You even think like the tube. This is mass madness. You maniacs. In God’s name, you people are the real thing. We are the illusion.”

It is Beale’s language and the passion with which he delivers it that constitutes his dangerous weapon. Therefore, the Network transforms him into a cheap religious figure, whose audience slathers him with absurd adoration.

Television’s enemy is the word. Its currency is image.

Beale breaks through the image and defiles it. He cracks the egg. He stops the picture-flow. He brings back the sound and rhythm of spoken poetry. That is his true transgression against the medium that employs him.

The modern matrix has everything to do with how knowledge is acquired.

Television, in the main, does not attempt to impart knowledge. It strives to give the viewer the impression that he knows something. There is a difference.

Knowledge, once established, is external to, and independent of, the viewer. Whereas the impression of knowing is a feeling, a conviction, a belief the viewer holds, after he has watched moving images on a screen.

A basic premise of New Age thinking is: “everything is (connected to) everything.” This fits quite well with the experience of watching film or video flow.

Example: we see angry crowds on the street of a foreign city. Then young people on their cell phones sitting in an outdoor café. Then the marble lobby of a government building where men in suits are walking, standing in groups talking to each other. Then at night, rockets exploding in the sky. Then armored vehicles moving through a gate into the city. Then clouds of smoke on another street and people running, chased by police.

A flow of consecutive images. The sequence, obviously, has been assembled by a news editor, but most of the viewing audience isn’t aware of that. They’re watching the “interconnected” images and listening to a news anchor tell a story that colors (infects) every image.

Viewers thus believe they know something. Television has imparted that sensation to them.

Therefore: a short circuit occurs in the reasoning mind.

When you take this pattern out to a whole society, you are talking about a dominant method through which “knowledge” is gained.

“Did you see that fantastic video about the Iraq War? It showed that Saddam actually had bioweapons.”

“Really? How did they show that?”

“Well, I don’t exactly remember. But watch it. You’ll see.”

And that’s another feature of the modern acquisition of “knowledge”: amnesia about details.

The viewer can’t recall key features of what he saw. Or if he can, he can’t describe them, because he was in the flow. He was inside, busy building up his impression of knowing something.

Narrative-visual-television story strips out and discards conceptual analysis. And lines of reasoning? To the extent they exist, they’re wrapped around and inside the image and the narration.

Howard Beale: “…democracy is a dying giant, a sick, sick dying, decaying political concept, writhing in its final pain… What is finished is the idea that this great country is dedicated to the freedom and flourishing of every individual in it…”

Paddy Chayefsky’s words. He made his pen a sword, because he was writing a movie about television, against television. He was pitting Word against Image as the primary form of knowledge.

When a technology (television) turns into a method of perception, reality is turned inside out. People watch TV through TV eyes.

Mind control is no longer something merely imposed from the outside. It is a matrix of a self-feeding, self-demanding loop.

Willing Devotees of the Image WANT images, food stamps of the programmed society.

The triumph of Network is that it makes its words win over pictures, IN a picture, IN a film.

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

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 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.