Category Archives: Writers

Video Madness; And other prime matters…like Life vs Death

So…what am I doing on Substack?

by Jon Rappoport

September 1, 2023

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Demand Sage: “YouTube has more than 2.70 billion active users as of 2023.”

“TikTok has over 1.677 billion users globally…”

People are disappearing into videos.

It’s a choice and an addiction.

As soon as the Internet developed to the point where video was possible and easy, the craze exploded.

There have been many consequences. One is: viewers judge the quality of information they’re getting by the appearance, posture, gestures, and voice quality of the presenter.

Just like the news.

People took their addiction to television and simply transferred it to the Internet.

But there’s another frontier to be crossed.

Viewers IN the video. Let’s say you’re watching your favorite podcaster delivering the news of the day and commenting on it. Tap a key and YOU’RE SITTING NEXT TO HIM in the video.

You’re watching him and yourself.

You can put your hand on his shoulder. You can smile at him. You can straighten out the pile of notes in front of him. Sitting next to him, you can pump your fist when he makes a great point.

You can do lots of things.

And you can sit there in your underwear, in your living room, and watch all this.

One day, when even that isn’t enough, you’ll be able to summon the podcaster into your living room.

It’ll happen.

—You’re sitting there watching a guy doing his podcast, you’re also there next to him at his table, and you decide, “I really like this guy.” So you tap a key and the video shuts off and the podcaster is there, NEXT TO YOU, sitting on your couch, in your living room. A hologram. A quite vivid holo.

You can talk to him and he’ll answer you. You can have a conversation with him.

AI will be able to give you that.

And video madness will be enhanced. At another level.

And what you’re reading on this page right now…that activity will seem a billion miles away from what you want.

Which, in a way, is what we have now, in many schools. The students don’t want to read, and the teachers don’t want to teach them. At best, the students want to talk back and forth with the teacher. That’s all.

So…what am I doing on Substack?

Answer: many things…

To read the rest of this article and comment on it, click here.

(Episode 50 of Rappoport Podcasts — “The Individual vs. AI; The turning point for civilization; What will The Individual become?” — is now posted on my substack. It’s a blockbuster. To listen to this podcast, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails here.

Podcast: The Individual vs. AI

The turning point for civilization

What will The Individual become?

by Jon Rappoport

August 15, 2023

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Subscribe and listen.

When you’re on my Substack, you’re on an island of the hold-outs. The resisters. And because more people are seeing what’s coming down the pipeline at us, the island is getting bigger.

This podcast is a culmination of what I’ve been writing about for 20 years.

Not just the onslaught of Artificial Intelligence. More than that, the transformation of human minds into machine-intelligence.

I’m not referring to the massive biological experiments on the brain. I’m talking about people making themselves into computer-like creatures.

In their mode of thinking. In the language they speak and write. And finally, in their complete rejection of their own creative impulses.

The journey to artificial intelligence began long before the technical capability was launched.

You can go back in time and hear the “normal insanity” in the language of lawyers, the language of scientists, the language of news broadcasters.

All the life has been sucked out of those languages.

AI is simply and horrifically a reflection of what humans themselves have become.

As AI invades every sector of society, replacing people in government and corporations and even in the arts, the difference will hardly be noticeable—because the people were already “machines.”

This is a science fiction film come to life—The Mind Snatchers. Snatched by the powers-that-be? Yes. But ultimately by willing volunteers themselves who surrendered their uniqueness to something entirely Mechanical.

And then preposterously denied their surrender, in a language that could come right out of an IBM press release.

The subject of this podcast is red hot, because people are in complete denial about their surrender. They don’t want to be told about it. They don’t want to think about it.

They definitely don’t want to think about what they surrendered.

I’ve been thinking and talking and writing about these things since I was 17.

And now that AI is upon us, more people are starting to grasp the meaning of the Big Surrender.

I hope you’ll join me in this no-hold-barred podcast.

I’m not going to approach you as if you’re machine intelligences. I’m going to be talking about Life Force vs. Living Death.

Because we’re at that crossroad.

— Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails here.

Shark week on TV came and went

I was too busy growing my scorpions, and omitted reporting on it

by Jon Rappoport

August 11, 2022

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For NoMoreFakeNews Readers who haven’t yet visited my substack page, here’s a sample of what I’m doing over there. What follows below is the Lite version. At substack, every day, I’m DESTROYING REALITY—the reality nobody wants, except for the demented ones.

It’s my self-appointed task, and frankly, nobody does it better. I take the odd jobs. And I go all in.

—Several TV channels, back there in the mists of time—July—went wall to wall with shark shows and promos.

I have a theory. Scientists have found a way to pipe those shows to sharks around the world, and then the big fish swim close to shore and attack swimmers. Some of those sharks have Swiss bank accounts, and they pocket fees from media networks.

Also, just like the word “recession,” “great white shark” is being redefined. They can be much smaller than the beast in Jaws. So there are many more of them (for TV). I have to take a look at my tabletop aquarium. I may have a few buzzing around in there.

The shark shows feature lots of boat crews. These crazy guys drop fish in the water to attract sharks in order to film them. The guys go underwater in metal cages and wait for the monsters to bang against the bars. The guys fly in helicopters above shore lines and look down and speculate about why the sharks are coming ever closer to beaches:

Seals, otters, climate change, systemic racism, gender dysphoria.

For some reason—maybe it’s in the sharks’ TV contracts—the great whites open their mouths VERY wide, exposing all their teeth, when they’re going after six little trout the boat guys dropped overboard as bait. Seems very inefficient. Nature doesn’t usually operate that way.

I watched a show that ran footage of hundreds of fins poking up above the waterline close to a beach. I suspect those fins were plastic forgeries. Especially since the show’s host was doing his stand-up about 20 feet into the water.

I’m fascinated by the shows, because they raise a question. Is the viewing audience rooting for the guys or the sharks? In the larger scheme of things, is the audience rooting for the heroes or the monsters?

You could take this out to: Are most people willing to sacrifice humans for the sake of the environment, even if it means massive depopulation?

I know people who would choose the environment in a second.

Maybe this is behind all those shark shows: Nature is coming to get us, and we should let it.

It has a certain appeal, especially for people who’ve given up on the human race. They’re like the fish who swim along quietly with sharks, eating the big beasts’ leftovers.

Would you die to save one giant redwood?

Would you?

Lots of people say they would. I wonder what they’d do if they had to die in the water by great white attack.

I actually believe it’s possible for individual humans to rise to a level where they can make friends with the wildest of beasts. But short of that, a long slithering crocodile coming out of a river can take off a leg and a crotch before you can punch in 911 on your cell.

Generally speaking, I’m not a worshipful fan of Nature. For instance, take the rainforest, which I rightly call the jungle. I know that when you get down in there and you’re fighting your way through the undergrowth, you encounter an astonishing variety of life. But viewed from the air, as you’re flying over it, you see it marching all the way out to the horizon. There’s a paralyzing SAMENESS to it, as if one football-field-sized chunk has been exactly replicated, over and over and over. As if Nature said, “Ah, the hell with it, you get the idea. I’m just going to copy that original piece a million times and lay each piece next to another and multiply the whole ‘army’ on and on until you humans do something with it…”

Humans eventually obliged. Indeed, they did some crazy shit with it. But the basic notion of intervention made sense. Otherwise, we’d still be living in a whole world of nothing but jungle.

Many people SAY they want that. They’re all cuddly with the idea. But if you dropped them down into the middle of a dense patch, with the prospect of living out a whole life of 60 years or so there without let up, I think you’d have lots of conscientious objectors.

I’d put up one of the great Rembrandt self-portraits against a giant redwood any day of the week.

And one of those blunt tropical trees that spreads out horizontally in all directions with twisted roots above the ground? Versus, say, the Chrysler Building in New York? I’ll take the Chrysler.

I’ll go all in with the Brooklyn Bridge against any square mile of jungle anywhere in the world.

Now if it was a choice between a fantastic black leopard picking his way through foliage in Southeast Asia, and, say, the entire corner of 8th St. and Sixth Avenue in Manhattan, I’m taking the leopard.

So I’m a mixed bag. It’s case by case.

Great white shark, or the crazy TV guys in the boat filming the beast? Theoretically, it might be a draw. But I do have species-biased loyalties. I’ll pick the guys. As long as I don’t have to sit in a bar and listen to their stories.

A koala bear in a tree or Klaus Schwab? The cute koala, hands down.

Which would I prefer? Great white ate Bill Gates, or Bill Gates ate the great white? See, I think Bill DID eat the great white. That’s why he’s the way he is. So turnabout is fair play. Maybe next year, we’ll see that turnabout explode on screens during shark week. The ratings would go through the roof. Both sides would pause the war in the Ukraine and watch.

This is my problem with television. The networks know very well how to send their numbers soaring. But they back off.

My production team has put in a proposal to Sea World in San Diego. Capture a great white. A really huge one, not a renamed barracuda. A slathering monster. Dump it in a giant pool at Sea World. Keep it there. Have staff members feed it a few hundred pounds of meat from the ends of poles every day. (This is all broadcast to a global audience 24/7 without let up.) Train this shark to sit up and beg for food, bob for apples, turn somersaults. The works.

Finally, the beast is domesticated.

A trainer can ride it around the pool. He can pet its mouth and clean its teeth. He can administer castration drugs without objection. What a show.

And then one day…just like humans who have been subjected to endless mind control reeducation…the shark blows his top. He shakes off all his programming.

My production team has scripts prepared for that day. We have a voice-over narrator who will explain to the viewing audience—as the shark is wreaking havoc in the bloody pool and leaping out into the stands where the onlookers are sitting paralyzed, waiting to be munched—the narrator will describe the way mind control works and what happens when it reaches a limit.

The narrator will explain why a society based on individual freedom with responsibility, as opposed to State tyranny, avoids such a horrific outcome.

It’s an object lesson in, let’s call it social studies.

I think it’ll have a beneficial impact.

Don’t you?

For example, people might rethink the recent Los Angeles arrest of two traffickers who possessed 150,000 fentanyl pills, capable of killing several million people. After charging the duo, the DA released the traffickers on their own recognizance.

The public’s PASSIVE ACCEPTANCE of such an outrageous prosecutorial action surely speaks to the influence of mind control and entrainment and programming.

Or to put it another way—individuals fear what the State would do to them if they put aside their fear.

Shark week brings up many interesting thoughts. That’s why it’s so majestic.

Don’t forget to visit my substack page. Jaws are opening and closing there every day.

(Episode 18 of Rappoport Podcasts — “Busting Fake Reality: The Job of the Century; The Knight’s Journey” — is now posted on my substack. It’s a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

The Matrix Revealed

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

To read Jon’s articles on Substack, click here.

Jon Rappoport

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

The Writer’s relentless pursuit

by Jon Rappoport

July 18, 2022

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(This article is Part-7 in a series. For Part-6, click here.)

Continuing my series on writers and writing…You can read about my collection, Power Outside The Matrix, here and also here. One of its aims is to help writers…

I’m talking about real writers, not parrots.

And the relentless pursuit of something new. Always. Because what he’s already done becomes old. He knows that. He covers ground and that’s that. Then he moves on.

He can’t wait for millions of people to catch up. He’s not in that business. He’s not selling the same hot dogs over and over.

The shift to the new is not just about content and subject matter. It’s about how he expresses himself. How he writes. He can’t go on and on with the same way of writing forever.

He’s an explorer. After he’s made the journey to one unmapped country, he sails to another.

This is how he keeps himself going.

If you made a list of great writers and then read them, you’d notice each one wrote differently. They weren’t great because they all adhered to one style.

There is no one style.

There is no single universal mind with one set of rhythms and one way of expression. That’s a fantasy entertained by people who aren’t artists.

Every real artist is unique. He stands out from and against The One Unity, which is a philosophic fiction invented for the purpose of control.

Knowing this, the writer turns that apple cart upside down.

The One Unity is a metaphysical glazed donut.

It’s hypnotic. The writer breaks the trance and the spell.

When he does, people who are under the spell say, “I don’t understand what he’s doing.” But somewhere down deep, they do understand. An explosion has detonated and it’s working its way to the surface.

We’re in an extreme technological age, which has its own hypnotic spells. The dome heads of technology are floating along on a platform that is supported by pillars they believe are firm and powerful. They’re wrong. The pillars are already cracking. The whole edifice is tilting. Because so much of the technology and the language surrounding it are dead.

Real writing exposes the lie of that language. It cuts it to ribbons.

The writer relentlessly pursues what hasn’t been done before, by and with his imagination.

He finds his way by inventing the way.

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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

The guts of a Writer

by Jon Rappoport

July 15, 2022

(To join our email list, click here.)

(This article is Part-6 in a series. For Part-5, click here. For Part-7, click here.)

Continuing my series on writers and writing…You can read about my collection, Power Outside The Matrix, here and also here. One of its aims is to help writers…

A writer can invoke all sorts of reasons to stop writing. He can choose from thousands of excuses.

But I want to focus on the type of excuse that comes from evidence. For example, over a period of years, the writer has accumulated information that leads him to believe the human race is doomed and nothing can be done to change that.

Therefore, why write?

Why? Because there is a higher priority. YOU FIGHT, NO MATTER WHAT.

Once you digest THAT, you’re back in business.

And of course, there is counter-evidence, too, because the war for freedom that has been going on since people lived in caves is never over. We’re talking about the long and true view. 10,000, 20,000 years into the future.

I’ve known writers who gave up because they turned into dyed in the wool cynics. They gave away everything. They submitted to “an objective assessment of humanity.”

But writing isn’t objective. It never was.

It can use facts, but that’s just the beginning of what it is.

Writing is ultimately about writers.

When is commitment really a commitment? When it carries the day, come hell or high water.

If a writer has that, everything else falls into place. If he doesn’t have that, nothing works. It falls apart.

I’ve been writing for 67 years. On perhaps half of all those days, I paused—TEMPORARILY. I had nothing in mind—FOR THE MOMENT. But I knew that an idea, a thought, a phrase would come to me, and then I’d be off and running again.

And it did, and I was, usually in a matter of hours.

Because I wanted to write. Because I was committed.

You keep going long enough, for enough years, and your energy expands. It doesn’t fade away. You can do more, not less.

You SEE that problems, troubles, and excuses are NOTHING compared to your commitment and desire. It’s no contest.

No writer thinks reality is just fine as it is. He’s always reaching for more. He’s always overturning reality.

And there is much to overturn, at many levels. There is no lack of material to work with.

Society at large is always holding out its hand and making promises involving: surrender, giving in; allied with perks, freebies, groups to join, causes to uphold, victim plot lines to embroider. All of THAT is sensational material a writer can work with. As long as he doesn’t take the bait himself.

“Should I sit down and write 5000 words or eat the cotton-candy of the State?”

“Should I remain an individual or disappear into a group?”

The voice of a writer has clear answers. It engraves those answers for public consumption.

It announces that something the State can never touch will never die.

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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

Journalism that blows the Big Vault open

by Jon Rappoport

July 14, 2022

(To join our email list, click here.)

(This article is Part-5 in a series. For Part-4, click here. For Part-6, click here.)

Continuing my series on writers and writing…

And yes, these articles are in conjunction with my mega-collection, Power Outside The Matrix, which you can also read about here. I did my best to make it a rocket for writers.

There comes a moment for a relentless reporter who goes down a rabbit hole long enough…

He finds something so explosive it would turn the world on its head.

I’m not talking about a mere riveting scandal or a parochial crime.

I’m talking about something far deeper and far more corrosive to WIDELY accepted reality.

What to do?

This is when the imperative to ATTACK becomes absolutely necessary.

And the big clue is this: attack along multiple vectors, and keep it up.

You can’t go half-way. If you do, the story and the truth will be wiped out, or a lesser version of it will be shoved out front for public consumption—the limited hangout.

If you go half-way, there’s a chance YOU’LL go down with the story.

Either walk away or go all the way.

“But I wrote about it and nothing happened.”

So what? Write about it 16 times. 50 times. Don’t stop. If you don’t see the explosion you’re hoping for, know the truth you’re telling is crawling its way into minds. It’s eating its way in. Other writers are thinking about it, walking around it, picking up on pieces of it and publishing.

You’re a fighter, you’re in the ring, and this will go on for 100 rounds. Or more. Unless you throw in the towel and quit, sitting on your stool in the corner.

This is more than you thought it was. Absolutely. That’s when the thing called DESIRE comes up.

What are you in this for?

Do you want to singe the shutters on the windows, or do you want to burn the whole house down?

The degree of the quickening of your blood and your brain will give you the answer.

And there’s another factor, too. Do you ENJOY overturning Reality itself on a grand scale?

If so, you’re in the right place.

Turn the screws. Don’t just report the astounding facts. Draw up the implications and launch them. Describe all the ripples. Leave no doubt as to how much Reality has just been destroyed.

These implications will come to you as you’re writing. If you’re ready for them. If you’re sniffing for the big, bigger, and biggest picture.

You’d better be.

You can’t just be a person with his nose to the wheel. You can’t just record the turning and breaking of the gears. You have to come to see what all this MEANS, and you have to blow the meaning(s) up into one vivid photograph after another for the reader.

Don’t leave it to chance.

This is where you separate yourself from the pack. Because although other writers will agree with you over time, many of them or most of them don’t want to come to grips with the IMPLICATIONS the facts are exposing. They want to build walls around the facts and put facts under microscopes. They want to confine the story. You want to blow it open.

You got into the vault. You led other people there. Now they want to pull out a dozen choice safety deposit boxes and see what’s in them, and they want to count the total amount of cash sitting in bags. You want to pull out every goddamn deposit box and examine the contents. You want to make sure you understand where all that cash came from.

And as you’re seeing, in the wreckage of the vault, the truth of it all swimming into view in successive waves, you’re writing and publishing, and as you realize one fantastic implication after another, you’re laying out each one in its full glowing form.

Voila, you’re a reporter.

And no one has to tell you, you have to be a WRITER, too. You see that. You know that. In order to tell the whole story, it’s imperative.

So you ARE a writer. You keep pushing out one piece after another, and you’re up to the task. You find the words. Words come to you.

As you write and read what you’re writing, you’re catapulting yourself higher and you’re drilling yourself deeper into the new world you’re shaping—from the facts.

And there you are, and there it is.

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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

A Vision of Journalism

by Jon Rappoport

July 13, 2022

(To join our email list, click here.)

(This article is Part-4 in a series. For Part-3, click here. For Part-5, click here.)

This is another in my series on writing and writers—and it ties in with my mega-collection, Power Outside The Matrix, which you can also read about and order here.

Speaking from my own 40 years of journalism work and my preferences on the subject, yes, of course I have a bias, but it’s not narrow. It’s wide open, and it lets anyone in, as long as they think about FACT and IMAGINATION together.

Some would call what I’m talking about here STYLE, but it’s more than that. It’s how a writer decides to present information with twists and turns and flashes and cloudbursts and attacks…

What can you make facts DO?

They’re the raw material.

You could wake up one very good day and realize you’re writing satire. Comedy. Even poetry.

You’re also, in the process, exploding the mind of the reader, because it needs to be exploded and rescued from the sober drear of “here are the data, goodbye.” I mean, really. That has to go. Away.

As a writer, do you want a fact to be a martial arts instructor toiling away at a small gym teaching the same moves over and over, or do you want a fact to be a Bruce Lee, who invented new moves from his core and imagination every day to fit the situation he was facing?

If you know you want to use a fact to make a point, you’re on the right track. How do you make the point? There are an infinity of ways, and you invent them. Mostly, as you go along.

You teach yourself to be a chef with no recipe book. Your book is DESIRE. The desire to overturn official reality. So OVERTURN IT. Don’t be shy.

Read what bad journalists write. See what they’re doing. I’m not just talking about lies. I’m talking about how they tell them. Drained of juice and color. These people should be pumping gas and collecting tumbleweed in Death Valley.

As a writer, fear is not your friend. You can tell the truth and never move the needle, because you’re timid. (If you’re irretrievably timid, you’ve already stopped reading this.)

Listen. There are millions and millions of readers out there who are unsure about what they’re supposed to do. They’re in strait jackets. They don’t know whether to shit or go blind. They read a line you write and they start to smile and then they stop.

They ask themselves, “Am I supposed to laugh? That line was pretty funny. But the subject he’s writing about is serious. I’m confused. He just took that fact and used it like a hammer and banged my head. If I laugh, am I committing some kind of code violation? Is a patrol car going to show up? Will I turn into a person my friends won’t understand? Suppose I miss the meaning of a joke and laugh in the wrong place? I’d look stupid.”

The solution here is: keep pounding away. Sooner or later, people are going to catch on to what you’re doing. And here’s the capper. They’ll find the buried place in themselves where they’re doing it, too.

That’s what you want. You want THEM to see THEY intend to upset apple carts, too. That intent has been trained out of them. By all sorts of people. Dead people who still manage to walk and talk.

It’s the deadness you want to overcome.

Facts are weapons you deploy to achieve that. You don’t want gray readers digesting facts you present as gray corpses…because in that case, nothing really happens.

Yes, I’ve read Hunter Thompson. I’ve read PJ O’Rourke. And Jonathan Swift and Lewis Carroll. And Thomas Paine, who was a journalist and an essayist and caller to action and a poet all at the same time. They knew how to use facts to their own advantage. You can learn from them, and then cook up your own dishes.

Beware of ideological humor. These are dud jokes the writers THINK are funny. They’re sadly mistaken. The jokes rely heavily on the prior ideology, and only rubes and yokels enjoy them. “Ha-ha, he [writer] proved God is wonderful.” No he didn’t. He wrote something lame, and God shook his head, swore, turned away, and went off to play 18 holes at George Carlin’s miniature golf course on the corner of Paradise and Cackle.

Suppose God Himself wants you to laugh your way out of a strait jacket? Suppose He knows how to turn the screw with any fact in the book? Suppose He can make a fact into a sword and wave it and drive you screaming into the night—where you recover your sanity.

Why can’t you as a writer do that, too?

Because He’s the Only One? You really think His ego is that large?

Doesn’t your experience tell you it’s the most isolated, indifferent, cold sons of bitches who have the biggest egos?

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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

Podcast: ‘Taking On The Whole Phony Culture In Which We Live

…And Skewering It From Every Conceivable Angle

by Jon Rappoport

July 12, 2022

(To join our email list, click here.)

I’ve got a lot on my mind these days, and I want to share it with you.

Anybody can listen. No subscription necessary.

Yes, I’ll do some shameless plugging of my work. More than that, I’ll talk about the last 20 years of writing online, and my efforts to get my pieces out there—the successes and also the censorship.

The censorship has been constant, even on so-called alternative sites. I’ll talk about why. I think it’s important to understand why. Vital.

Writing 3 different blogs these days has given me new perspective. I can see more clearly what connects with readers and what doesn’t connect, and why. And this, too, is important to understand.

I’ve been relentless for the past 20 years online, and I’m even more relentless now. Which means I’m taking on the whole phony culture in which we live and skewering it from every conceivable angle.

So many people are falling victim to the culture and don’t even know it. Their internal habits of thought and perception are changing. And not for the better. I’m attacking that every day on Substack, in ways that no one else is. That’s a fact.

I’ll talk about it in the podcast.

At age 84, I’m not running across fields and valleys and hills at top speed anymore. I’m not playing in parks from dawn to dusk with my friends…but I’m writing more than I EVER have. That energy is spilling over. Why? I want to talk about that in the podcast.

I’ve found that when I build the inner fire higher, it grows still higher on its own. That is VERY interesting to me, and I’ll talk about it. I think you’ll find it interesting, too.

And yes, I’ll urge those of you who haven’t subscribed yet to do so. I’ll tell you why I think you should—for the price of one breakfast a month at a diner in 1990. There are exciting new bonuses coming for people who pay for a yearly subscription. I’ll describe a few of them.

I can’t and won’t stop now. There’s no reason to.

Writing every day for Substack has made me realize that CULTURE is the whole story. We live in it and swim in it or we try to wall it off. Culture shapes perception, and perception shapes thought, and this Culture happens to be a MONSTER, so I’m out to slay it.

That decision and commitment have opened up a whole new world of writing for me.

Speaking of which, I’m FOR writing and writers. I’m not ready to surrender the future to the destruction of language. I don’t think you are, either.

The general state of writing these days is wretched. Language is becoming a dead operation whose sole purpose is transmitting data. Whereas writing is supposed to set your hair on fire. It’s supposed to wake up the dead and the half-dead and those who are dozing.

I’ll talk about that.

I’m inviting EVERY ONE OF YOU to buckle up and join me in this podcast.

No holds barred.

— Jon Rappoport

The Matrix Revealed

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

To read Jon’s articles on Substack, click here.

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

More on writing: hand, eye, and stars

A man and his wife: she who cooked up magic

by Jon Rappoport

July 11, 2022

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(This article is Part-3 in a series. For Part-2, click here. For Part-4, click here.)

It seems I’m doing a series on writing.

Good.

And yes, these articles are in conjunction with my mega-collection, Power Outside The Matrix, which you can also read about here. I did my best to make it a rocket for writers.

Today, I have a story about a writer who was close to giving up and found rescue.

I give you the story, because I want to remind you that if you’re a writer, or want to be, your breed will go to the ends of the Earth to find what they need. And if you have THAT, you’re electric. You’re launched. You can outdistance anything.

This is a story about the great Irish poet, William Butler Yeats.

And his marriage. There are several versions. The one I prefer illustrates what I mean when I say: no one can predict what reality a writer will create when left to his own devices, when freed from the restraints of what he is supposed to believe. The story also illustrates the lengths to which individuals will go to forge a unique vision.

For almost 30 years, Yeats pursued the love of his life, Maud Gonne. She refused to marry him. A year after she turned him down for the last time, in 1916, grief-stricken and at the end of his rope, at age 52, Yeats married Georgie Hyde-Lees, who was 25.

Almost immediately, Georgie saw their marriage was doomed to fail.

Four days after their wedding, she suddenly told Yeats she could perform automatic writing. “Instructors” dictated highly esoteric texts to her.

This intrigued Yeats. Together, he and Georgie began to work out myriad systems to make metaphysical sense of the huge cascades of strange pages Georgie began setting down—-eventually resulting in the 1925 book, A Vision.

Their marriage endured. They had two children. Yeats dug deeply into the automatic texts and extracted images and phrases which he used and reworked in his late (and some say his greatest) poems.

In my preferred version of this story, Georgie, desperate to hold on to her husband, INVENTED both the claim of her ability to perform automatic writing AND invented the ensuing mystical texts.

It worked.

Once the new alliance with her husband was formed, the marriage survived; and Yeats, his writing up against a brick wall of exhaustion, suddenly found new sources and material and inspiration.

New life, new poetry, new partnership, new love.

Georgie decided to risk everything, and she won.

On the wings of THE INVENTION OF REALITY.

Whether you believe in God, or rocks, or something in between, or something you assert is greater than any of these, the question is: how far will you go to find what you want?

A few feet, a block, a mile, a hundred miles, the ends of the Earth, farther?

A writer is dealing in great spaces and distances, as well as things close to home.

He has a nose for the grindstone and other galaxies.

Nothing stops him from his work.

And because of that, he finds help in the most unexpected ways.

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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

Why I want more writers in the world

by Jon Rappoport

(This article is Part-2 in a series. For Part-1, click here. For Part-3, click here.)

Yes, I believe my collection, Power Outside The Matrix can help people who want to become writers or much better writers.

I want more writers in the world—journalists, poets, novelists, playwrights—because they create narratives. New ones.

And this is important, because people, faced with what’s going on around them, have an incurable habit of listening to inner brain narratives of anxiety, impending trouble, and doom. Whether they know it not.

Writers outdistance and outflank that habit. A writer un-traps himself and his readers from that habit.

During my 75 years or so of reading, I’ve jumped into all sorts of writers. For a 10-year span, it was crime and spy fiction. Ian Fleming, John D MacDonald, James M Cain, Donald Hamilton, John Buchan, and finally and great and underappreciated Philip Atlee and his series of Joe Gall secret agent novels. I read and reread Atlee’s books. I learned so much about writing it was ridiculous. He was a great teacher without ever intending to be.

These books fortified me. They built wave after wave of new stories in my mind. New possibilities. New thoughts. New thoughts that spawned other thoughts. So…why bother with automatic narratives that groveled and crawled in the direction of gloom Fate? No need for that.

Writers liberate everybody.

Writing is abundance.

Automatic narratives in the mind are appointed bureaucrats of scarcity.

Science fiction—another decade or so of reading. Ray Bradbury, Heinlein, Philip Dick, AE Van Vogt, Norman Spinrad, and a host of nameless pulp authors who took me to other galaxies in the words of their opening paragraphs. BANG. You travel to those places, and when you come back, you’re refreshed. You’re emerging from a five star spa of mind and soul. You don’t need the old stories your brain is blabbering in its nursing home address on the edge of town.

There was a period in my teens and early 20s when I read the authors I was supposed to. Herman Hesse, Poe, DH Lawrence, Yeats, Dylan Thomas, Arthur Miller, Eric Hoffer, Henry Miller, Ayn Rand, William Burroughs. But “supposed to” dissolved. I was leaping into and out of all sorts of different kinds of fire. I KNEW all bets were off. ALL narratives were up for grabs. I could go ANYWHERE.

This is a good thing to know.

This is one of the best things to know.

Believing in freedom is one thing. Feeling free is quite another. Writing (doing it or reading it) gives you the feeling.

It gives you a platform on which to stand. A stage. A new stage.

One day in the 1980s, I started reading Harlan Ellison. His stories and his essays. This was a man who had muscles and balls in his brain, along with an unending stream of original thoughts. He shot killer poisoned arrows at his enemies and never backed down. He also had the capacity to tell you something you wanted to know while promoting and advertising himself. One of his undying messages: have courage, my friends. Ellison was and is a tonic, a unique tonic. He destroys and lifts up all at once. Where else are you going to get that?

This is what I mean. Writers give us what we need.

And one more thing for now. Writers say to us, “You can sit there and pretend you don’t know what I’m talking about, you can pretend you’re dumb, but I know something is getting through. And whatever that something is, it’s ESSENTIAL. It makes all the difference. It’s a glimpse of what you really want.”

To read more, go here.

— Jon Rappoport

power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)

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