POLITICS AND CELEBRITIES

ACTRESS GOES TO PRISON

OCTOBER 10, 2011.

First, before I get to the plight of Iranian actress Marzieh Vafamehr, I present you the following backgrounder on celebrity actors…

Today, my wife Laura was going through some old videotapes and came across a campaign speech I gave in 1994, when I was running for a Congressional seat in the 29^th District of Los Angeles.

The issue was Health Freedom—the right of every citizen to decide how to manage his/her own health, without government interference.

The funny thing was, I was running in the Democratic Primary. That was because I saw it as the only way to unseat the incumbent, Henry Waxman. I decided a Republican or an Independent would have stood no chance in the general election. I think if I were running now, I would do it as an Independent anyway. But that’s another story.

When I was talking about Health Freedom in 1994, Hollywood celebrities were coming into the fray and demanding it, too. Mariel Hemingway, James Earl Jones, Mel Gibson, Lindsay Wagner. A somewhat lesser known (brilliant) actor, Sally Kirkland, was overtly campaigning on my behalf.

I had no idea where these people stood in their politics. Were they Left, were they Right? It didn’t matter. They knew what Health Freedom meant, and they were for it. Out loud.

These days, it doesn’t seem to matter where celebs are on the political spectrum. They’re either unaware of the Health Freedom issue, they don’t care, they’re enamored of the present administration, or they’re scared.

That’s too bad.

There is a growing group of actor-conservatives in LA, and to my knowledge, they’ve taken no strong stand on the Health Freedom issue. Why not?

In a celebrity-driven and celebrity-obsessed culture, you would hope stars would parlay their influence on something that’s as important as breathing.

Just ask any of a number of patients, for example, who have been through the mill with chemo, radiation, and surgery for cancer, and then talk to people who’ve gone to Dr. Stan Burzynski’s cancer clinic in Houston and regained their health. The contrasts are stunning.

When I look at the time period from 1994, when I was running for office, to 2011, I see a weakening of forces for freedom. And in fact, when I recall those heady days of ’94, I realize many people on our side didn’t really have a grasp on what freedom meant, even then.

They somehow believed they were for both “strong government” and “freedom.” Well, holding a contradiction and moving forward with it is one of those common political insanities.

It can occur because people don’t stop and think about what they really stand for. Either they can’t, because they’re not smart enough, or they won’t, because they sense the conclusion will put them on a spot they don’t want to occupy.

This brings me to the plight of Iranian actress Marzieh Vafamehr…

Today, in the news: Wire services are reporting that Iranian actress, Marzieh Vafamehr, has been convicted of acting in a film, My Tehran for Sale, which explores the political suppression of artists in her country. (Click here. International Business Times: October 10, 2011 3:16 PM EDT: Iranian Actress Marzieh Vafamehr to be Lashed 90 Times, Jailed for One Year)

Her sentence? A year in prison and 90 LASHES.

The press reports are a bit vague, because so far the government in Iran is withholding comment…but let us assume they are substantially correct. And if so:

I’m interested to see how many American actors speak up on her behalf. I’m interested to see whether this will inspire the sudden organizing of famous actors, who make a cause out of her sentence, who use their clout to book themselves on TV talk shows, turn the screws on the government of Iran, and demand Marzieh’s release and the recanting of her conviction and sentencing.

I already smell the fumes of political correctness descending on this whole outrage—as if, somehow, it would be a mistake to take up this cause.

I may be wrong, but let’s see. Does George Clooney care that a fellow actor is about to go to prison and receive a whip on her body 90 times? Does it matter to him, or to Brad Pitt, or to Angelina Jolie, or to Madonna, or to Gary Sinise or Tom Selleck or Ben Stiller or Robert De Niro? Ted Danson?

What do Oprah, Ellen, and Maury think about it?

And in the press? Ann Coulter? Bill O’Reilly? Rachel Maddow? George Will? Chris Matthews?

Will the US Congress mount a statement?

How about the candidates running on the Republican ticket for president?

How about Obama?

The UN?

Various human rights groups around the planet?

What does freedom actually mean to any of these people?

Is there a sense that the rights of a particular individual don’t matter anymore, and instead, all meaningful political solutions have to be viewed within the framework of global machinations? Is there a timidity that emanates from concern that a specific protest carried out (without checking in with political leaders) might upset “delicate negotiations underway on “larger matters?” Do demands on behalf of Marzieh Vafamehr have to emerge from Facebook and Twitter uprisings, in order to qualify as authentic? Does the entertainment industry believe that only through documentaries—launched long after the fact—can a cause be properly couched?

To me, these are all excuses. They are signs that people are running scared, are looking over their shoulders at potential consequences, are calculating which “favored supporters” would be on their side or would be annoyed at them for taking a stand.

It’s fumbling in the dark to ascertain the mood of the moment in high places, as under the reign of thought police. This is what you find in a dictatorship.

“It’s not the right time for a protest on behalf of an Iranian actress.”

“Our leaders are trying to negotiate difficult and murky waters, in order to effect large solutions to complex problems, and we don’t want to unintentionally rock the boat.”

“Declaring ourselves the enemy of something is a harsh position. What we are really looking for is a gradual global shift of focus from competition to cooperation, and we may have to allow certain injustices, for now, to go by the boards.”

More rationalizations.

More weakness and passive deference.

For celebrities,”the way” is now through charity. This is the safe path. This has the blessing of the powers that be. Whereas, to demand freedom for one person who shares the same profession is unsafe, is naked, is without protection. It sounds too much like, well, individual freedom, doesn’t it? And that is the precise problem. That is not the message preferred by those who are assumed to be leaders and power players.

Well, in case you’re vaguely interested, here is my opinion, in terms of priorities. The fate of Marzieh Vafamehr is more important than the iPod, iPhone, iPad, or Pixar.

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

WE ARE THE 99%

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

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

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

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

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

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

DON’T BUY STOCKS. IT’S A CON.

STOCK INVESTING IS A JOKE.

IDIOTS TRY TO MAKE MONEY IN THE STOCK MARKET.

WALL STREET IS VEGAS WITH BRANDY AND CIGARS.

THE MARKET REBOUNDED BECAUSE MY DOG TOOK A CRAP.

WHO MANIPULATES STOCK PRICES?

STOCKS ARE A RIGGED GAME.

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

THE RAT PACK DAYS ARE OVER.

BUY A STOCK, JUMP OFF A CLIFF.

BOYCOTT THE STOCK MARKET.

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

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

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

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

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

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

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

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

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

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

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

“What are you in these days, Bob?”

“I’m in GE, Fred.”

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

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

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

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

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

NEW FEELINGS

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

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

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

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

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

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

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

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

The difference between not feeling alive and feeling alive.

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

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

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

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

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

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

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

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

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

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

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

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

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

SOMETHING ROTTEN IN WHEREVER

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

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

So at least here’s a start–

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

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

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

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

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

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

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

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

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

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

A BREAKTHROUGH ARTIST

RICK DUBOV

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

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

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

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

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

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

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

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

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

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

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

“I hope you can come on board.

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

and contact me about details concerning the commissioned portraits.”

http://rickdubov.blogspot.com

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

Jon Rappoport

www.nomorefakenews.com

INTO THE FUTURE

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

Jon Rappoport, Magic Theater Foundations

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

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

In dialogue with each other. Improvised dialogue.

This changes reality.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Real theater.

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

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

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

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

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

Jon Rappoport

www.nomorefakenews.com

This is the last day of the September nomorefakenews fund drive. Heartfelt thanks to those who contributed to this work. To make a donation, go to PayPal, click the “send money” button, and enter qjrconsulting@gmail.com. You don’t need to have your own PayPal account.

HI, I’M GOD

by Jon Rappoport

SEPTEMBER 25, 2011. Hi, I’m God, and I created reality, and you live in it. I made you, and you’re tuned up to fit into the reality I devised. Enjoy!

I’ll tell you a little juicy secret, right off the bat. I became God because nobody else was, and I perceived a need and I filled it. That’s the essence of all good business.

At first, I wasn’t dedicated to morality. In fact, I considered it a convenient disguise for clandestine activity. Not my own, but that of my people, my creations.

But later, when I examined the mess humans were making of their societies, I decided to try my hand at righteousness and vengeance, and commandments.

In retrospect, this was probably a mistake. Humans will make anything, it seems, a cause for killing.

Anyway, I’m a bit more interested in philosophic questions. For example, if I created humans, do they have freedom? Or are they androids? I confess I don’t know. It’s a fascinating field of study, and I guess someone will come up with the answer one day. Part of the reason I stick around is to discover the punch line.

Then there is the matter of reality itself. Once upon a time, there was none. At least not in the sense you people define it. It was quite flexible, and lots of us were inventing it. We were, dare I say it, artists. I know many of you don’t like the term. You associate it with despicable types who believe they’re entitled to special treatment. With us, it was simply a matter of putting things where there were no things before. We arose each morning and did it.

You take reality far too seriously. You’re dedicated adherents, as if we’re talking about religion.

And at this juncture, I have a confession to make. To say I created humans is simplistic. I SAY I did. I ASSUME I did. But you see, all this happened during a confusing period when a bunch of us were inventing at a tremendous pace. We kept no records, and it was all happening with such exuberance that no one cared. Then, all of a sudden, there you were. You were ensconced in a reality bubble, and you were spouting all sorts of religious prose—it was this I took advantage of.

I called down, I spoke in quasi-poetic utterances, I intervened on occasion, and you were sold.

This has been suggested to me, and I find it feasible—it’s possible some of my former colleagues decided to see what life could be like inside a bubble, and so they descended and injected themselves into what you call humanity.

Wherever I look on Earth, I hope to discover at least a few people who realize that pure creation—of the kind we here still do—is the basis for all existence, and no superstructure of doctrine is necessary to explain it. Alas, I’m disappointed. Apparently, you prefer to live according to another rulebook, the nature of which remains a mystery to me.

After all, it’s inconceivable that you want to remain in your bubble, and creation is the key to escape. But this eludes you.

Any one of you can do what I do, and perhaps even more. Since you haven’t concluded this, I stay busy with projects elsewhere and check back in now and then.

While I’m at it, let me make it clear that “the universe” is not a wish-fulfillment machine. Where did you ever get that idea? Was it from a woman named Oprah?

And here is another one. No one cares what you think. Thinking, per se, doesn’t determine what happens to you. Those who came up with this bit of theory, and those of you who’ve bought it, simply have too much time on your hands. You want to believe what you do with that time (ruminate) has some intrinsic value. Sorry to disappoint you, but no. It’s a minor activity. IMAGINATION, without boundaries, put into action, is the cardinal virtue. Some of the old Tibetan magicians, about 1500 years ago, saw that. Soon they were expelled into the outer darkness by their priests, who were busy with prayer wheels and prostrations and what-not.

What else? I loved Lenny Bruce. He’s with us here now. He’s still doing stand-up, and he’s on tour. We have a number of vibrant venues. Small clubs, mostly. The audiences are smart. Even literate. Lenny keeps us on our toes. His bullshit detector is peerless.

I could register a number of complaints about your religions, since I seem to be the subject of their massive efforts. But I won’t bother. If you can’t see through all that, you’re in reverse gear.

Oh, I almost forgot. If you think Nice and Polite is going to result in a better world, I’d have to say, in my experience, I’ve never seen it work as a primary guiding principle. It’s usually just another fascism in the catalog of fascisms.

You know, there was a time in your history I seriously strategized about my market share. I was looking to expand it. But I gave that up. You wanted to surrender yourselves to some Ultimate Whatever. That really annoyed me. Of course, there was nothing I could do. If I came down there, during those dark days, my mere presence would have exacerbated exactly what I wanted to deflect.

There is nothing permanent to surrender to.

I mean, you can try. Nobody will stop you. But I’m not part of it. And I’m not aware of anyone or anything else that is, either.

Look on the bright side. What you call universe we call island. Islands are everywhere. They’re built differently. Some are architectural masterpieces. Others (many others) are just created whole at the drop of a hat. There’s much to explore. More importantly, you can create your own. Why not? Your bubble is just a drop in the ocean.

So all in all, I’m a guy who has been playing God. GPG. Guy playing God. I’ve pretty much given it up. It’s a dead-end. I don’t don’t do punishments and rewards. I don’t keep score. I definitely don’t intervene. I don’t watch the NFL. If I needed money, I wouldn’t count on the Vatican for a monthly paycheck. I certainly don’t deploy intermediaries down on Earth to relay messages to me.

Once in a while, just for a goof, I’ll lose somebody’s car keys or screw up a weather report. I might send secret corporate memos to an investigative reporter.

Oswald didn’t act alone.

www.nomorefakenews.com

qjrconsulting@gmail.com

THE REALITY SALESMAN CALLS

by Jon Rappoport

SEPTEMBER 24, 2011. Step right up, folks. This is a deal you can’t afford to miss. You know that thing you cling to like a drowning man in a turbulent sea?

It’s called reality, and I represent the company that manufactures it. I’m proud to say I’ve held this job for over a hundred thousand years. So as far as product knowledge is concerned, you just aren’t going to find anybody like me.

Some folks believe reality is rocks and trees and desert and sun and rain, and the brick and concrete and steel and glass of buildings, the mountain ranges, the sky, the moon and the stars. They believe reality is a house and all the things in it, and the mementos you hold on to, like photos and dolls and so on, to remind you of the past. And cars and streets.

But I’m really selling…guess what? A little thing called perception. It sounds odd, but that’s what it is.

How you see things, and what you think about what you see.

Because to tell you the truth, no matter what time period you live in, whether you live on Earth or another planet, it all comes down to that. How you see what’s in front of you.

And believe it or not, perception comes in different forms. My company makes the perception that endures. It’s the package you’re living with right now. It’s the down-to-earth here-it-is straight-ahead common-sense type. We call it: IT IS WHAT IT IS. That’s trademarked, by the way. ISWIS. It is what it is.

ISWIS was invented by a very smart guy whose name has been long forgotten. He was a genius, and he realized something great. People would go for ISWIS because it would lock them in.

Do you see? People didn’t want a wobbling here-and-there kind of perception. Who wants to wake up on a Tuesday morning and suddenly see life in a completely different way? Who wants that kind of shock to the system?

We have a famous statement here at the office. A TABLE IS A TABLE AND CHAIR IS A CHAIR. It sums up our whole attitude. If you bump your toe on the leg of a table, you feel it. Your toe doesn’t go through it, for God sakes. It’s a table. If it weighs thirty pounds on Monday, it weighs thirty pounds on Tuesday. It looks the same day after day. You can count on it. And that’s a function of how you see it.

I’m just giving you the straight story. You could buy a package that would give you a whole different table. In which case, your toe might pass right through that sucker—and then where would you be? I’ll tell you. You’d be one confused puppy. You don’t want to see a table that way, do you? Of course not. You don’t want to THINK something and have the table jump up off the carpet and hover in the air, do you?

Well, ISWIS takes care of all that for you. That’s why it’s the most popular perception package in the universe, bar none. Reliability. Consistency.

All those centuries and epochs ago, when I was a rookie training for this job, the guys let me try on a whole bunch of different perception packages, so I could see what I was up against, as far as our competitors went. I saw things I wouldn’t want to describe to you. Horrible things. And finally, when I was given ISWIS, our product, I felt like I was home.

I know. You’re asking, “Well, how were you seeing before you went into training for the company? What package were you sporting then?” That, my friends, is another whole story I might tell you another time. Right now, I’m focusing on ISWIS, because it’s my job and because I’m so proud of my track record. Justifiably so.

Anyway, ISWIS gives you the kind of stability you can count on for your whole life. And, believe me, that’s no small feat. We’ve built slow decay (SD) into the package, so things gradually deteriorate and give you a sense of even more consistency—because, think about it, do you really want that tree in your back yard to stay at one stage of growth forever? Do you? It might seem like a nice idea, but it would screw up the need for replacement, and then you’d get into the whole conundrum of THE BODY, too, and how long it should last. People like to think they want physical immortality, but if you give it to them (via some other package), they go crazy after a while. Because their problems, as well as their triumphs, never go away. I could show you a little planet where the inhabitants went for one of our competitor’s products. The suicide rate is over seventy percent! The place is a nuthouse!

ISWIS is time-tested. It’s as solid as solid can be made. It doesn’t break down.

But it does need boosters from time to time, and that’s why I’m here today talking to you.

Every twenty thousand years, we institute a planet-wide upgrade, just to make sure nothing breaks down. And you’re all due.

Now, you could refuse, in which case you take full responsibility for what happens, or you could do the right thing and just re-up. I have to tell you, our re-up rate is 99.859 percent. I’m proud of that figure.

By the way, the leftovers, the holdouts, the deniers, the self-styled rebels? The governments of your planet keep track of you. I feel obligated to let you know that. They assume they need to. Worse comes to worst, and your ISWIS breaks down, you’re going to fail to fit in. Most definitely you’re going to experience some things other people just won’t understand. You’re going to feel you’re in the outer darkness—and then who knows what you’ll do? So to preempt that, your governments will hunt you down and lock you up, or worse.

That’s not my doing, because I believe in the free market, but it’s part of my service to clue you into the whole picture.

But here is the good part. You can get your booster now, during our pre-op special, by simply signing for it and taking the pledge, and paying a mere sixty percent of of your annual income for the rest of your lives. Which when you think about it, is nothing for what you’re getting. Again, reliability, and consistency.

The pledge, which involves a few details concerning IMAGINATION, is for your own protection—because if you take imagination too far (and who knows how far that is, until it’s too late), you’ll set up what we call an interference field, which means that ISWIS will tend to malfunction. You don’t want that.

But you DO want a reason, a good reason to stick with ISWIS all the way. That’s just human psychology. You see things the way you do, because of our package, and therefore reality is what it is and nothing else—and you want to feel good about that. So you need a reason, a story, a good story that convinces you you’re doing the right thing. We know that from our market research, our profiling.

Well, the pledge IS your reason and your story. You take an oath, and then you hold your imagination in check. That’s exactly what you pledge to do.

We take the pledge very seriously, and to make sure you do, too, we have a little kicker. If you begin to imagine and invent and create beyond a certain degree of intensity (which is something we can track), we make a house call.

You don’t want to experience a house call. Some very bad things can happen during the course of one of those. I’ve been there, trust me.

And finally, I know some of you hearing me talk today are wondering whether I’m giving you the straight scoop or whether everything I’m telling you is just one big lie. I know that. I’ve been around.

You’re listening to me and you’re thinking, “This guy could be just another salesman. He could be conning me.”

Yeah, I’m used to that. But you see, I’ve got an ace in the hole. So it doesn’t matter to me whether you believe me or not. You want to know what my ace is?

You people, with a few exceptions, are always looking for something scary to explain why you’re not all you could be. Understand? You’re always searching and rooting around for something to blame your “situation” on. You want that. You always want to fall back on it. It’s your Plan B. You’re not all you can be because some “negative thing” keeps popping up and putting its hand around your throat. You love that. You really do. You’re into it. And, well, I’m that guy. I’m the scary guy who just walked through the door. So you’ll end up buying my sales pitch, whether you like it or not, because you need your excuse. You need it like a junkie needs his drug. Therefore, I’m not worried. I’m not worried a bit. You want me. You need me. I’m the boogie man. I’m the guy you can invoke, like some kind of religious figure, when you need to.

You can say, “I want to take my imagination out to an infinite degree, but I’m not going to do it, because bad things could happen, and because I need the salesman, he’s my life raft, and I also need ISWIS so I can keep seeing reality just like I’m seeing it now.”

I’ve got you.

You and your excuses.

The truth is—there is no ISWIS, and I’m not a salesman, and nothing bad will happen to you if you use your imagination infinitely, and if you do, you’ll eventually see that universe and reality are simply a product of mind and you’ll be able to change them, and you’ll do magic.

But how many of you want to give up your fall-back position and your addiction to explaining things by invoking scary forces?

Yeah. That’s what I thought. So you see, I can sell you ISWIS even though it doesn’t exist, and I can collect my commission on and on and on, even though I’m not a salesman. And you’ll buy it.

So here’s the contract and the pledge, and they’re completely phony, and sign on the dotted line, and pay the fee, and we’re done.

Thank you very much.

www.nomorefakenews.com

qjrconsulting@gmail.com

BREAKING RULES OF ORDINARY REALITY

THE FIRST SESSION OF THE MAGIC THEATER IS SCHEDULED

SEPTEMBER 23, 2011. Rules of ordinary reality—rule one: what a person can imagine, he accepts; what he can’t imagine, he calls crazy.

You say to him, “Last night, I went and saw a play where the main character is a grasshopper who’s the head of the New York mafia.”

He’s likely to say: “That’s insane.”

But privately, later on, perhaps he chews on that a little. “You know, it might be funny to see a grasshopper playing a gangster.”

So he goes to the theater, secretly, a week later, and to his amazement—fear drenching his body—he hears his name. The director walks out on stage before the performance and says, “Mr. Jones, come up here. You’re playing the grasshopper tonight.”

Jones knows he’s going to die. In the next few seconds, he’s going to

fold up and collapse in the aisle and breathe his last breath.

And all because he can’t imagine playing a grasshopper.

That’s how tight ordinary reality can get for some people.

And they convince themselves that, even on the off-chance experience exists beyond their own imagination, it would do no one any good to think about it.

It would be irrelevant. It would be a meaningless waste of time. It would improve nothing.

In working Magic Theater dialogue with a private client, I asked him what he thought of the astral plane.

“I’ve heard about it and read about it,” he said. “But I don’t believe in it.”

So then I asked him whether he could pretend he believed in it, in order to play a role that was centered in an astral locale.

“Why should I want to do that?” he said. “What difference would it make?”

“It has to a be a real role to make any difference?”

“Of course,” he said.

After some conversation, he agreed to try to do the role, which was: The King of Astral Locale 1. The king was in charge of putting on celebrations—which in that place were continuous. (I made up the role.)

Well, after an hour or so of dialogue, in which I played the client and he played the King, the effect became explosive. His whole “affect,” as psychologists like to call it, changed. He became much more expressive. He looked like he had just escaped from a prison and was seeing sunlight for the first time in years.

A month later, he told me his life had changed during that hour of Magic Theater. He indicated he’d previously believed his existence was a straight line, and now he was seeing all manner of things he’d missed along the way. “For a little while, every day,” he said, “I’m happy. I haven’t felt really happy since I was thirteen.”

Yet, of course, he still didn’t believe in the astral plane. But who cares? That wasn’t the point. I didn’t need to believe in it, either. The point was to get him to play the role. To move him beyond the steel wall he’d put across his imagination.

This is something it’s hard to show some people. You can take on a role and speak from that role—and the role can be seemingly absurd. But when you speak from it, walls come down. Boundaries dissolve. Even though it’s all sheer invention and improvisation.

On the surface, it might seem the whole effect is achieved because the person “gets outside himself.” That’s just the beginning, though. There is much more to it than that. New energies are invented. New space is invented. New emotions or dormant emotions are tapped into. The ironclad conviction that reality consists of ABC and not DEF is snapped in half.

I had a client who was a working actor. We had sessions on the phone every week. When it came time to do Magic Theater, he assured me he’d played every conceivable role in small theater and in acting classes. He was already a pro at improvisation.

So I started him off with the role of “dissatisfied actor who talks to God in the afterlife,” and I played God. We did that dialogue, and then we switched parts. I was the dissatisfied actor and he was God. That opened up things.

In our next session, I asked him which parent of his he’d rather not see for lunch. His mother, he told me. The very prosiac role of mother. So that’s who I played, and he played himself. And then we switched. That opened up things more. He was feeling better.

The third week, I told him he was going to play “an actor who’s now 80 years old and has been through it all and seen it all, and is encased in a coat of shellac and pickled in years of booze.” And I would be “the freest man in the universe.” That dialogue went on for quite a while, during which he tried to dissuade me from my freedom. He tried every tactic he could think of. And when we switched, the role of “freest man in the universe” was his, and I was the 80-year-old cynical actor. He broke through. It took him a while. He cooked up one situation after another in which he was totally liberated from all earthly concerns. He became the god Mercury and Krishna and Buddha and a space trader in his own ship and all sorts of other personae. I can’t imagine he ever enjoyed playing a role as much as this one. He was quite fantastic.

At the end, he just said, “This was the one I’ve been waiting to play all my life, and I didn’t know it.”

And that was his launching pad into a new future.

It hadn’t been easy, but it was a hell of a lot easier than going downhill for years and years as a disillusioned actor.

It sit here and watch some of the clips from the UN, where the issue of Palestinian statehood is being argued, and I think about how these pathetic, conniving, sold-out, sad little tragicomic politicians are playing their parts—and what would happen if they could bring themselves to play EACH OTHER, to take on those roles and improvise them, hour after hour in the chamber. I think about how much laughter would eventually break out and how, against their better judgment, they would all eventually pass the point of no return and realize what a hoax they’d been perpetrating, how much life they’ve been hiding under wraps for the sake of attaining and keeping their precious positions. I think about what other far more adventurous parts they could then go on to play in the Magic Theater—and how desperately they really want to play those parts, underneath it all.

“Let me! Let me! Let me be the grasshopper who runs the mafia in New York! Let me be the King of Astral Locale 1. Let me be the freest man in the universe! Let me be God! Let me be that moron, the mayor of New York! Oh Yes! Let me be an 80-year-old actor who’s addled by booze! Let me be the sap rising through spring trees in Central Park! Let me be a beggar on a planet a billion light years from Earth! Let me be anything other than what I am!”

For all the world to see. Finally.

This was the dream and the agenda of JL Moreno, the genius of the 20^th century, who invented Psychodrama; and the Magic Theater is the extension of that into Roles Unlimited, imagination unlimited, improvisation unlimited.

And you can think about this: What if the hard inflexible rules of the physical universe itself, as they are understood and worshiped, are as inflexible as they are BECAUSE they are locked together with the inflexible roles we play?

What if this giant room called universe and all the bottom-line objects in it seem to be so FINAL and unyielding, because the roles we stick to, in the stage play called life, also seem so final?

What if, eventually, we can discover—FROM EXPERIENCE in the Magic Theater—that universe is a product of mind and we can deal with it DIRECTLY on that basis?

The first workshop of the Magic Theater will take place in San Diego on December 10. If you are interested in coming, email me at qjrconsulting@gmail.com, and I will supply details.

Jon Rappoport

www.nomorefakenews.com

qjrconsultng@gmail.com

WORLDS IN THE MATRIX

SEPTEMBER 21, 2011. I want to give my readers advance notice that I’m preparing a new huge (and I mean huge) product for launch within the next month. The final title has not yet been chosen, so the tentative name is The Matrix Project.

Details will follow soon. Stay tuned.

In the Matrix, we find worlds (systems) within worlds. This is a main feature of Matrix complexity, or labyrinth. Each world, or “painting,” is a whole, and then each world upholds other such worlds.

In the Matrix, there is an operating principle that overshadows all other principles: once controllers choose a key fact, a key piece of information, they then organize other facts that fall into dimensional perspective relative to their central theme.

As an analogy, consider the strategy of realistic painters. They choose their main subject, the person or object they want to feature on the canvas, and then they arrange perspective so that all other persons and objects take their sizes and positions relative to that main character.

This accomplishes something major: it bolsters the feeling that the main character is, indeed, important—because everything else lines up in relation to it.

And of course, we normally perceive reality in the same way. If you’re walking down the street to an appointment in an office building, and you can see the building ahead in the next block, it becomes the main event of the moment, and you see other objects and people on the street as organized around it.

It’s neat, simple, workable.

But what happens when some “architect’s” main character or premise or theme or fact is intentionally false to begin with? What happens then?

You have a consensus around a vacuum.

Although I didn’t quite see it that way, in 1988, when I published my first book, AIDS INC., I see it quite clearly now.

The central factoid in the whole AIDS saga is, of course, HIV.

Once that is asserted as the cause of AIDS, large numbers of experts begin to flesh out the rest of the landscape, setting perspective and dimension and size and position of objects RELATIVE TO HIV.

Which naturally becomes quite convincing, because whenever you place a fact (true or not) in the primary position, position number 1, and then arrange all other facts to shore up number1, you give the impression that you are right and correct. The overall picture yields that conclusion.

All the sub-information streaming from the smaller satellite facts feeds into the number 1 fact, and as a whole, the entire “painting,” the entire structure is MUTUALLY SUPPORTIVE.

This is a powerful effect. No matter where you plug into the structure, the world, the painting, you will find yourself traveling to the central fact, and you will also find yourself traveling to all the subsidiary facts. Everything connects to everything. It’s very convincing.

Some of the most enjoyable crime novels are those in which the case appears to be closed—the primary suspect is put on trial because all available facts and evidence point directly to him. And then the hero comes along and deconstructs the evidence and shows that the picture was false and the real criminal “is still out there.” These stories are enjoyable because they tap into our suspicion that Matrix constructions are clever lies.

But they are much more than clever lies.

Take this example from AIDS INC: In 1985, scientists adopted a new view of antibodies. Up until that time, the body’s production of antibodies “against a particular germ” was generally taken as a good sign. It meant the immune system was working properly and warding off the germ. But suddenly, antibodies against HIV were said to signify desperate trouble for the patient: the patient was very ill, or would become very ill.

In fact, this was the whole reason given for using a test for antibodies as a way of diagnosing pre-AIDS or AIDS.

Why this sudden shift in how antibodies were interpreted?

Well, it took me a while to figure it out, but it was really quite simple. There was a PRIOR assumption that HIV was a lethal virus, and therefore any contact with it signaled probable death. Well, antibodies revealed that, in fact, the patient HAD contacted HIV. Therefore, grave consequences.

So now there were several “facts” contributing to an overall “painting” of AIDS: HIV, the killer germ; antibodies against HIV, indicating that the person had contacted HIV; and the inference that, without successful treatment, the patient would die.

Each “fact” supported each other fact. Each “fact” fed into each other fact. Each “rock in the stream” was washed by the same water.

This is enough to convince most people of truth. This is all it takes.

“Well, wherever I look, I see further confirmation that the number 1 fact is true. All signs point to it. All roads lead to Rome.”

Okay. Go into a shoe store and take one of the salesmen to lunch. Pay him a nice fee for cooperation, go with him to a costume store, rent a minister’s robe, rent out a church for a few hours, pay people on the street to come in and sit in the pews, hire an organist to play some doleful hymn—and then bring in a few folks from a Salvation Army office. Sit them down.

They will assume the shoe salesman is a minister. All facts point to it. The chapel, the music, the congregation, the podium, the robe he’s wearing, his position as the number 1 fact, right up there on the stage, the focus of every person in the room. What’s to doubt? What’s to question? The man has a congregation, which exists in relation to him.

When I was writing AIDS INC., I began to wonder, finally, how scientists had proved HIV caused AIDS. I broke the spell. I questioned the central theme, the number 1 fact. But this was months after intensive research. It took me that long to peer around the whole structure, to throw off the convincing nature of the entire, mutually-feeding world. Everywhere I had looked, all roads led to HIV. All sub-facts propped up the number 1 fact. And the organization of all those sub-facts—their size and position—relative to the number 1 fact, was fairly tight. At least I thought so.

And then somebody whispered in my ear: “Question the number 1 fact.”

When I did, I found holes. Gaping holes. The world of AIDS had been spun as a clever illusion around NON-FACT number 1. That’s what AIDS INC. turned into—my investigation of the holes.

The more I investigated, the more shoddy and cheesy that world became. Whereas, at first, it appeared very polished, I began to see it as a series of cheap infomercial ads promoted by a guy with a phony deep baritone.

In those days a reporter could get to actual scientists, rather than PR flacks—and I discovered that these scientists were also front men. They were winging it at every turn, covering for themselves and their colleagues with bizarre statements that made no sense.

The capper on the whole phony world was: if HIV had never been proved to cause AIDS, if the number 1 fact was not a fact at all, then what did the word “AIDS” mean? What the did the TITLE, THE NAME OF THAT WORLD signify?

And the answer was: nothing.

Yes, people were dying. But from what? Were they all dying from the same cause? Was that a justifiable assertion? Again, the answer was: no.

In other words, people who were dying had been ORGANIZED, from an ivory tower, as identical factoids, in a perspective that seemed to point to HIV, but didn’t.

I offered MUCH detail on all this in the book.

Subjectively speaking, although I didn’t use the word Matrix at the time, I felt I was emerging out of a fog of acceptance of something that was representative of, well, a whole STYLE of architecture. Reality architecture. As in, this is how you design reality. This is how you create a world within a world. This is how you organize and distribute and position a vast array of “facts,” in order to fabricate a sphere—a sphere inside which you can place billions of people, billions of minds.

It was, to say the least, a jolt. On several counts.

Many, many people who were ill (and not ill) were being led to the slaughter, because after an HIV diagnosis, they were being fed an extraordinarily toxic drug, AZT, which prevented cells of the body from replicating. AZT was, in fact, a failed chemo drug.

Scientists of the highest reputation, at the highest levels of the research establishment were, consciously and unconsciously, aiding and abetting this program.

Media stalwarts were climbing on this bandwagon without registering a single doubt.

At the same time, I felt a fiery invigoration, because I had waded through miles of interconnecting roads in this AIDS world and emerged from them, armed with the knowledge about how you build a considerable section of Matrix, and I knew this would be important and it would stand me in good stead from that moment on. I knew I would get the word out, and other people (no matter how many or how few) would begin to see THE REAL AIDS STORY. And if they could make inferences from that, they would also know how other worlds within worlds were built, to confine and deceive and confuse and obfuscate and cause great harm.

It was then that some of my old connections as a reporter began to make a new kind of sense—there were people, insiders, I had interviewed off the record, who were trying to tell me, essentially, about Matrix techniques and strategies…only I hadn’t truly appreciated it. I could go back to them now and re-interview them and add to the knowledge I had absorbed from writing and researching AIDS INC. So I did go back to them. I did interview them.

Two years after AIDS INC was published, my friend and colleague, hypnotherapist Jack True, met me for supper at a cafe in Santa Monica. We talked about the book, and then later that night, we sat down for one of of many interviews I did with him.

He didn’t waste any time. He jumped in with this:

“It’s time you grab the whole story by the throat. Whether or you know it or not, you realized, from the beginning, that your investigation of AIDS was going to turn out to be a breakthrough. But you need to go further. EVERYTHING in the world partakes of that same aspect. It’s all BACKWARDS REALITY. You’ve had telepathic experiences. Lots of them. What do you think they mean? Reality is constructed to minimize and dampen the paranormal. It’s a foreshortened perspective of what actually exists, within us. It’s the same kind of cover story [as AIDS], with different items in it. It’s built the same way. It’s ARCHITECTURE. A stunted form of architecture, posing as THE ONE AND ONLY. Get with it. You know this. Push it. You’ve just gotten off the launching pad. Don’t stop.”

So I didn’t stop.

More coming…

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com