Murder at the FDA

Murder at the FDA

by Jon Rappoport

January 31, 2014

www.nomorefakenews.com

File this one under: “studiously ignored by major media.”

I posted this story in August of 2012. It was based on a Truthout interview of a man who did drug reviews for the FDA. He examined applications to approve new medical drugs for public consumption.

Pharmaceutical companies must have their new drugs certified as safe and effective before they can enter the market, before doctors can prescribe them. The FDA does this certification. Thumbs up or thumbs down. The drug is okay or it isn’t.

Here’s the story:

In a stunning interview with Truthout’s Martha Rosenberg, former FDA drug reviewer, Ronald Kavanagh, exposes the FDA as a relentless criminal mafia protecting its client, Big Pharma, with a host of mob strategies.

Kavanagh: “…widespread racketeering, including witness tampering and witness retaliation.”

“I was threatened with prison.”

“One [FDA] manager threatened my children…I was afraid that I could be killed for talking to Congress and criminal investigators.”

Kavanagh reviewed new drug applications made to the FDA by pharmaceutical companies. He was one of the holdouts at the Agency who insisted that the drugs had to be safe and effective before being released to the public.

But honest appraisal wasn’t part of the FDA culture, and Kavanagh swam against the tide, until he realized his life and the life of his children was on the line.

What was his secret task at the FDA? “Drug reviewers were clearly told not to question drug companies and that our job was to approve drugs.” In other words, rubber stamp them. Say the drugs were safe and effective when they were not.

Kavanagh’s revelations are astonishing. He recalls a meeting where a drug-company representative flat-out stated that his company had paid the FDA for a new-drug approval. Paid for it. As in bribe.

He remarks that the drug pyridostigmine, given to US troops to prevent the later effects of nerve gas, “actually increased the lethality” of certain nerve agents.

Kavanagh recalls being given records of safety data on a drug—and then his bosses told him which sections not to read. Obviously, they knew the drug was dangerous and they knew exactly where, in the reports, that fact would be revealed.

The Matrix Revealed

We are not dealing with isolated incidents of cheating and lying. We are not dealing with a few isolated bought-off FDA employees. The situation at the FDA isn’t correctable with a few firings. This is an ongoing criminal enterprise, and any government official, serving in any capacity, who has become aware of it and has not taken action, is an accessory to mass poisoning of the population.

Twelve years ago, the cat was let out of the bag. Dr. Barbara Starfield, writing in the Journal of the American Medical Association, on July 26, 2000, in a review titled, “Is US health really the best in the world,” exposed the fact that FDA-approved medical drugs kill 106,000 Americans per year.

https://blog.nomorefakenews.com/2009/12/09/an-exclusive-interview-with-dr-barbara-starfield-medically-caused-death-in-america/

In interviewing her, I discovered that she had never been approached by any federal agency to help remedy this tragedy. Nor had the federal government taken any steps on its own to stop the dying.

Jon Rappoport

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

Flashback: 9/11 and the gold in the NY Federal Reserve

by Jon Rappoport

January 30, 2014

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With reports that Germany can’t get back much of its gold stored in the NY Federal Reserve, I remembered what I was writing just after 9/11.

Here are a few quotes. Most are from my posts on 9/11 and 9/12, 2001:

“Still no word on the condition of the NY Federal Reserve Bank, which is 2.5 blocks away from the destroyed WTC. This bank, underground, holds $75 billion in gold from [about five] dozen countries.”

“CNN has a large map posted today, which shows the condition of a number of buildings by name in the area, but, curiously, the NY Fed Reserve is not one of them.”

“And now that workers are going down underneath the remains of the WTC, where $100 million in gold is admittedly stored (Reuters), we have no word on the condition of that gold, either.”

“Yesterday, I brought up the issue of the gigantic fed gold reserve stashed underground 2.5 blocks from the WTC. And mentioned that no press accounts were covering damage to nearby buildings. Which I find odd.”

“Here is an account from [a reader] on the ground in NYC, as of an hour ago. ‘It seems like we are getting the same limited [TV] shot on all networks…kind of a tight angle shot of damage of the base of the towers…no shots of damage to nearby buildings, including the gold reserve building. No one knows anything because the whole island [of Manhattan] has been shut down below 14th St. Camera crews not allowed to wander. If you live below 14th St. and you leave your apartment you need identification in order to get back in.’”

“The WTC took up several blocks in lower Manhattan. From the Liberty Street side, it is about 2 blocks to the Fed Reserve Bank of NY, at 33 Liberty St. Under the Bank, 5 levels down, in bedrock, is the $75 billion in gold.”

“The NY Federal Reserve keeps a facility for storing gold in NYC. It handles the gold reserves of about five dozen countries. $75 billion in a vault. About 1/4 of the world’s gold supply. At least, that’s the Fed Reserve press release on this, from 1999. This vault is located close to the WTC, where the towers fell. Is it [the vault] buried? Is the vault open? Anyone see Die Hard 3? A gigantic terrorist ‘diversion’ leading to the theft of all the gold in the vault.”

In the days following 9/11, I also wrote that there were no reports or video of troops guarding the NY Federal Reserve building. This was very curious. 75 billion in gold and no troops present? Nor have I found any video from that time, later posted on YouTube, showing troops around the Fed Reserve.

There is debate about whether a tunnel existed connecting the basement of the old WTC and the basement of the Federal Reserve. A 2010 piece at Cryptome indicates (with photos) that, during the post-9/11 WTC cleanup, an old railroad tunnel between the WTC and Fed Reserve basements was uncovered. (Diehard 3 featured such a tunnel and track.)

Was the Fed Reserve gold taken away after 9/11?

Or had it been taken before 9/11? Perhaps long before.

Clearly, in the immediate wake of 9/11, there was a concerted press effort to omit or limit mention of the Federal Reserve building.

On March 2, 2013, Tyler Durden, writing at zerohedge.com, in Why Is JPMorgan’s Gold Vault, The Largest In The World, Located Next To The New York Fed’s?, reported his finding that “the de facto largest private gold vault in the world [is] located across the street [from the NY Federal Reserve building] 90 feet below 1 Chase Manhattan Plaza.”

This private vault, at the same level as the NY Fed Reserve vault, could front right up against it.

The private vault belongs to JP Morgan Chase. It is larger than a football field.

Under circumstances deemed “essential,” it would appear to be easy to transfer an enormous amount of gold from the Fed Reserve to JP Morgan Chase.

Silverdoctors.com reports that a US Treasury Dept. audit of all US gold reserves inadvertently exposed a total figure of 466 tons, far less than previous claims of 8,133 tons.

Anyone trusting that US-held gold reserves are safe and sound needs to examine his own head.

The Matrix Revealed

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

Jon Rappoport

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

Cutting up news of the economy

Cutting up news of the economy exposes the essence

by Jon Rappoport

January 30, 2014

www.nomorefakenews.com

Government and media periodically release reports about the state of the economy. It’s up, it’s sideways, it’s recovering, and so on.

Reading such reports is like reading background information on the weather. Lots of data, dubious value, and twisted truth.

For example, today the NY Times published a piece headlined, “Brisk 4th Quarter Lifts Hopes for Economy in 2014.”

I’ll give you an excerpt. Warning: reading it may put you to sleep, so pinch yourself, because the punch line comes later.

“‘What’s encouraging is that consumer spending and business investment improved, showing healthier underlying growth in the economy,’ said Michelle Meyer, senior United States economist at Bank of America Merrill Lynch. ‘The fundamental story for 2014 is still positive.’

“While the headline number was encouraging, the details of Thursday’s report neatly illustrate the crosscurrents that have been buffeting the economy, and have prevented it from achieving more sustained gains.

“For example, although consumer spending grew by 3.3 percent in October, November and December, up from a 2 percent increase in the third quarter, government expenditures plunged 12.6 percent because of the shutdown and automatic budget cuts imposed by Congress at the start of 2013.

“Over all, the government pullback lowered fourth-quarter growth by 0.9 percentage points, with the shutdown itself shaving off 0.3 percentage points. In addition, the residential housing sector was also a source of weakness, cutting overall growth by 0.3 percentage points.

“Some of that drop was weather-related, as construction activity halted, but it also represents a slowing of housing gains as mortgage interest rates rose and the sector’s postrecession rebound cooled. The fourth quarter of 2013 was the first time that housing was a drag on overall growth since 2010.

“As was the case in the third quarter, inventory additions by businesses lifted growth, adding 0.4 percentage points. Those stockpiles will most likely be drawn down in the first quarter of 2014, slowing the expansion a bit in the current quarter, economists said.”

Okay. Still here?

In 1958, in Paris, artist Brion Gysin developed Cut-Up; techniques for cutting and pasting and rearranging text. He and William Burroughs explored this approach together.

Now you can find, online, “cut-up machines” that will instantly and randomly transform text for you. I entered the above Times excerpt and got something that made a lot more sense to me.

Here are the (slightly edited) most interesting parts.

Of course, when I say “made more sense” and “interesting,” I mean that the basic insanity of these state-of-the-economy assessments is revealed. Instead of merely knowing they’re insane, the craziness hits you in the face.

If the Times published THIS stuff every day, I’d buy the paper:

“the growth overall encouraging the shutdown by growth is crosscurrents and 0 since that that automatic 3 2010 consumer have budget percentage”

“Some the business the by of case investment economy Congress that in improved and at drop the showing have the was third healthier prevented start weather-related quarter underlying it of as inventory growth from 2013 construction additions”

“Over activity by the more all halted businesses economy sustained the but lifted gains”

“United spending by of points States grew 0 housing Those economist by 9 gains stockpiles at 3 percentage as will Bank 3 points mortgage most of percent with interest likely America in the rates be Merrill October shutdown rose drawn Lynch”

“postrecession first for from 3 rebound quarter 2014 a percentage cooled of is 2 points The 2014 still percent In fourth slowing positive increase addition quarter”

“While in the of expansion the the residential 2013 a headline third housing was bit number quarter sector the in was government was first the encouraging expenditures also time current the plunged a that quarter details 12 source housing economists of 6 of was said Thursday’s percent weakness a report because cutting drag neatly of overall”

Exit From the Matrix

Isn’t that better?

I suggest economics professors at Harvard and MIT change their courses. Present THIS stuff and let the students finally enjoy themselves.

A few kids would go crazy, but that would be a positive outcome. In future years, they wouldn’t be around to write reports on the economy.

Jon Rappoport

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

“The Left hates big corporations”: enter Eric Holder

The Left “hates big corporations”: enter Eric Holder

by Jon Rappoport

January 29, 2014

www.nomorefakenews.com

Veteran reporter, Russell Mokhiber, who edits the Corporate Crime Reporter, lays it out in his article, “Holder the Hypocrite.”

“…[US Attorney General] Holder has perfected the government’s practice of offering deferred and non prosecution agreements to major corporations to settle major corporate crime cases.

“Under a deferred prosecution agreement, the corporation is charged with a crime, but if the company abides by the agreement for a period of years, then the government drops the criminal charges.

“Under a non prosecution agreement, the government just collects a fine. There is no criminal charge. There is no admission of wrongdoing.

“Since taking office in February 2009, Holder has dished out deferred and non prosecution agreements to more than 100 large publicly held corporations, including JPMorgan Chase (Madoff Ponzi scheme), Archer Daniels Midland (foreign bribery), Diebold (foreign bribery), UBS (interest rate manipulation), HSBC (money laundering), Pfizer (foreign bribery), Wachovia (money laundering), Tyson Foods (foreign bribery), Barclays Bank (Trading with the Enemies Act), Deutsche Bank (tax shelter fraud).”

That’s a tidy sample of Eric Holder’s work.

Of course, failing to prosecute Monsanto for fraud, criminal intimidation, poisoning the food supply, and other acts should rank high on the list as well.

But the Left hates big corporations, doesn’t it? Well, Virginia, ha-ha, that’s just a convenient myth. The Left loves and promotes big government, so it needs to accuse somebody of criminal behavior. Its favorite fairy-tale target? Corporations.

As you can see, that’s just a feel-good con. It attracts liberals and other Lefties, but only on the level of a slogan.

Politicians on both the Left and Right love big corporations.

“I’ll say love and you say hate, and we’ll argue and create the illusion of difference.”

Throw in pharmaceutical companies, military contractors, security corporations, banks, media giants…they’re all gladly served by the Left and the Right.

The Matrix Revealed

Unelected bureaucrats play a major role in carrying water for political administrations of both major Parties. The FDA, for example, enables Big Pharma and its array of killer drugs, no matter whether Democrats or Republicans are ruling the White House and the Congress.

Since 2000, it’s been known that medical drugs kill 106,000 Americans a year (a conservative estimate—see Dr. Barbara Starfield, JAMA, July 26, 2000, “Is US health really the best in the world?”)

AN EXCLUSIVE INTERVIEW WITH Dr. Barbara Starfield: Medically Caused Death in America

Yet neither political party has forced a deep investigation of the FDA, which routinely certifies those drugs as safe and effective. And no Attorney General has lifted a finger to bring criminal charges against FDA employees or pharmaceutical companies.

Yet the myth lives on. Republicans hate big government and Democrats hate big corporations.

It’s a Disney production with politicians playing cartoon roles.

Jon Rappoport

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

Interview with a dead Orson Welles

Interview with a dead Orson Welles

by Jon Rappoport

January 29, 2014

www.nomorefakenews.com

I made up this interview to correct widespread misconceptions about art, imagination, creation, universes, ego, addiction, power, freedom, improvisation, joy, cosmic jokes, and several other matters I can’t recall at the moment.

Oh yes. I also wanted to illustrate how timid, in many respects, art has become, how careful, precise, how wedded to “reality,” how it has forgotten about wildness and exploding adventure.

Someone somewhere will surely think this is “channeling,” so allow me to set the record straight. This is reverse-channeling. If anything comes through to me from the other side, I carefully place it on my work table and then—suddenly—pound it with a hammer until it breaks. Like a coconut. Then I put the chips in a pot, add water, and make soup for the cat.

In this interview with the dead Orson Welles, we consider matters he’s been keeping bottled up for a long time, ever since Hollywood more or less cast him aside. For some reason, he seems to agree with my views on many points.

Q (Rappoport): I’m not interested in talking about your work as a stage magician or your appearances on Johnny Carson or the documentaries or your wives, or why you put on so much weight or the possibility that Randolph Hearst had you exiled from Hollywood because you made Citizen Kane and portrayed Marion Davies in an unflattering light. I’m not interested in your views on history, either.

A (Welles): Thank God.

Q: So you make Citizen Kane and you’re 26 years old.

A: It was a gargantuan act of ego.

Q: That’s why it’s endured.

A: Yes, I would say so.

Q: So in your case, it’s beneficent ego.

A: Well, not all the time. I once threw a man off a bridge.

Q: That’s a new one.

A: It was at a ribbon-cutting ceremony. He attacked me. He said The Magnificent Ambersons was a drawing-room drama. In retrospect, he probably had been briefed by an idiot. He didn’t speak English, and he was reading from a sheet phonetically. But still.

Q: Did he die?

A: Oh no. The bridge was four feet above a narrow river. They fished him out and we all went and had a drink. People have the wrong idea about ego. Big is not a problem. Small is the problem. And if you stay in the middle ground, you experience the worst case. Then you’re torn to pieces. Attrition and gnawing from all quarters. Beyond a certain point, big ego is a balloon and you float up off the ground. If you can hold on and allow the ride, you develop spontaneous resources. It’s happiness. It isn’t “I want to take something from someone else.” It isn’t the kind of ego a monopolist has. It’s big, but it’s really just knowing what you want.

Q: Ego is a medium, like paint or film?

A: But there is no such thing as ego in art. It’s impossible. When you’re creating, you’re just creating.

Q: But people then assume art means humility.

A: People assume God is waiting for them in a city built on clouds, where they’ll melt like butter into a piece of cosmic toast. Humility is a delusion. An ideal of sheer pretension. Amateur’s role in a doomed play.

Q: Ego as a social behavior is buffoonery?

A: That’s why Citizen Kane is a comedy.

Q: And the reason why it’s not seen as that?

A: Large looming sets, and camera angles slanted upward from low positions. You can have a gloomy comedy. I may have invented the form.

Q: Your film, A Touch of Evil—they say, every frame a galvanizing photograph.

A: Why else make a movie? I was like the poet who realizes languageis the flight from the ground into the air, or the descent below the surface. In film, you build the architecture to photograph it, and you choose the angles that make the photo. Frankly, If I can’t invent every frame so it has original architecture, then I’m lazy. I’m letting the extraordinary slip by. I may as well be home getting drunk. But you see, I forced the issue. I didn’t sit back and hope. I didn’t wait for every marvelous accident. I was up on the beat, up on one, and I stayed there. Before Keats, you had poets who would ride on their ideas for a few lines or stanzas, and then they would rivet you in place with the words themselves, the sound and the metaphor—the real stuff. Well, I didn’t stall. I hit you with image after image. That was the point.

Q: You were the troll under the bridge.

A: The troll waits for years, for even centuries. But once he starts to move, he doesn’t stop.

Q: At what point did you realize the plot of Citizen Kane was a throwaway?

A: Oh, I knew that from the beginning. Stories are everywhere. Grab one. Think of one. Don’t give it much concern. One understands, of course, the audience is a sucker for stories, so that’s what they’ll focus on. You can’t help that. But the Rosebud business, the whole career of Kane, his whole life, drawn in episodes…who cares? It’s just the occasion for doing what I wanted to do. I never put stock in it. I may have said I did, but that was a lie or a momentary fascination. I wanted big space, so I chose a big man. Stories are a rank addiction. How will things turn out? Who will prove to be the winner? What’s the missing clue? It’s religion. The whole business is religion. Find the right story that touches all the bases, and you can sell it. But I was destroying stories. Understand? If my films had a theme, that was it. Story disintegrates. It has no foundation.

Q: Take the caste system.

A: You mean in Hollywood, or India?

Q: Either one.

A: India. Drivel. People see through it, of course, and they think they’re smarter than the Hindus, but meanwhile, every country has its own caste system. It’s based on obligation. You must be a messenger for theprevailing story. That’s the beginning and end of it. Wisdom is supposedly choosing the right story, but that’s sheer nonsense. Crap. Every story is a lie. You come to the end of it, and you feel unhappy. I knew that when I was 16. That’s why I had a hard time with studio executives. They’re sucking on the teat of their own religion. They see themselves as priests. They’re selling story to the public. A to B. You begin the fairy tale at A and wind up at B. No switchbacks. No irony.

Concealing and toying with story and plot never made sense to me. I’m not trying to hide the weapon in the desk drawer until the last scene. I’m injecting invention in every frame, so it spills over the edges. The foam shooting over the rim of the glass. That’s what I want. It’s the same with any world. You want to bring sheer abundance to it. Even in the desert, you have an abundance, an over-abundance of space. That’s what I’m aiming for. Over-abundance. On Earth, you have ridiculous, ludicrous jungles. They just keep on twisting toward the horizon.. They lean over the banks of the rivers, trying to swallow up the water, and the water won’t be stopped, either. You have black jaguars, some of the greatest hunting machines anyone could devise. They’re bursting at the seams. Look at their modeling. And lions. And if that gets to be a bit much, you scale back and invent cloudy leopards, pure and sufficient and heartbreaking beauty. You make many types. Let’s not diddle around. The people who made this place, Earth, do you think they held back? Art should be relentless and proliferating.

Q: Joseph Calleia in Touch of Evil. A wonderful actor.

A: Poor old Joe. He could make that sadness sing. He was quite good at comedy, you know. But he pulled on the cloak of sadness, and his elevator would take you down three or four levels, and there would be a bottom. He would die at the bottom. You knew he had to. There was a collection of caricatures in that film. Not exactly caricatures, because I was inventing, how do I say it, a special kind of type. Not a cartoon. Not tripping falling farce. Not quite naturalism. Perhaps a mixture. They call it grim noir, but that was a comedy, too, that film. You had Ray Collins doing his special brand of flapdoodle. The DA. Coat and hat, barking like a dog. One second he’s three dimensions, the next second he’s flat. And Akim Tamiroff. Farce. But he’ll shoot you. Entrances and exits. The characters appear, flare, flatten out, and disappear. Cardboard town. Cardboard and oil. A collapsible universe.

Q: It has different rules and regs.

A: Yes, the rules of, say, GK Chesterton. Reality as facade. But in Touch of Evil, if you put your hand through a wall, you feel you might get bit by something on the other side. The characters aren’t trapped by their natures. Not really. I trap them. That’s part of letting the audience see I’m doing the inventing. They see it going on. Just enough. Same with Citizen Kane.

Q: Reminds me a little of Pablo in Steppenwolf.

A: Yes. He can fold up the bar and the people in it into a toy and put it all in his pocket. He doesn’t do it. Maybe once, to drive home a point. But he could. So could I. Obviously, I don’t. But the fact that I could is part of the overall atmosphere.

Q: Collapsible universe.

A: Magic Theater. It’s a decision you make, and the earlier the better. Will you labor to copy reality? Is that your main thrust? Or will you punch holes in it, fingers into balls of clay and find velocity and manufacture the worlds you want?

Q: People think they know artists, but they’re only seeing snapshots of artists.

A: Caught, for an instant, on the run. So the story of the artist becomes the watchword. His tribulations. The fact that he’s a fool in his personal life or he’s desperate or he’s rich or he’s this or that. Maybe 20 years out of millions of his incarnations are captured in a highly suspect snapshot. He’s somewhere else now, still working. He’s exponentially increasing his power. As an incidental effect, his impact on reality, any already-existing reality, is growing. Somewhere out on the rim of a place we’ve never seen, he’s made vanish a few square parsecs of space and invented his own territory to replace it.

Q: Maybe casting a film.

A: Casting comes last. He’s drawing up camera angles, building sets.

Q: Huge houses?

A: Maybe. Maybe pillars and towers and looming sky. Maybe a cardboard town sinking in leftover oil.

Q: Just out of curiosity—everything you’re saying here, did you know it at the time or only now?

A: Oh, I knew it all along. But people want to hear about other things. And I was willing to give them what they wanted, except in my work. In intelligence operations, why would you blow your cover stories? The world of humans is built on cover stories, one after another, in stratified layers.

Q: The Third Man. You and Joseph Cotten.

A: Well, that was all atmosphere. We didn’t have anything else. Atmosphere wrapping a mystery. And when the plot is solved, it’s a throwaway, of course. Who cares? But with the crooked streets and lighting and pace, you make your own continuum.

If you play your cards right, it could be exciting. You worm your way through the mystery and you find it all folds up in your pocket and you walk away laughing. You leave that sadness behind, a hat blowing across the street. I used to stumble out of the theater after watching Ingmar Bergman, and I’d be choking on laughter. The Seventh Seal. One of the funniest movies I’ve ever seen. Wild Strawberries. Hysterical. Gunnar Bjornstrand, a man at the end of his tether, staring nothing in the face. Do you remember the scene where he’s sitting in the car talking to Ingrid Thulin? Well, tragedy for me has always had a tinge of laughter about to break out. You move over one inch from where you are, and the tears magically dry up and you’re feeling wonderful, as if you’ve just had a good breakfast. You look around and wonder what happened.

Q: Improvisation helps.

A: You can always throw a howling cat into a funeral. As people approach the open coffin, the cat runs in chasing a rat. Emotions are mercurial. Of course, in a film, you can saddle them with iron weights, if you want to. But I never thought that was necessary. Why bother with it? It’s a waste of time. Something else is going to happen next, anyway. You have the noble, beautiful, suffering widow standing at the coffin, where her husband is lying in his suit with a flower in his buttonhole, and she glances to her left and sees a man staring down her dress. And she starts to smile. Just a little. Of course, what is she doing with cleavage at the funeral?

Q: Is that a metaphysical question?

A: Well, it could be. You’re waiting for some particular emotion to lay its card on the table, the emotion that will sum up your experience and existence and confirm the absolute and final significance of it in the overall scheme of things…and then a leaf blows in the window and it doesn’t really matter. Now you have that emotion and the leaf, and as a director, what are you going to do with it? You begin to discover that improvisation is one of the great stable centers behind any universe.

Q: The planning department will hate that.

A: Sure. They pretend they’re working out all the details. They’re going to launch Universe X-B tomorrow, and they’re putting the final touches on the last few sub-sub-sub anomalies. Meanwhile, they’re just the front office. What’s going on behind the scenes is the real main event. Somebody like me is back there, and I’m talking to the tiger. The tiger with wings. I want to see whether he’s ready to burn bright in the forests of the night. Whether he cares about me, the man who made him. I want him to forget all about me and go on his way. He and I, the two of us, are back there. And yes, I can see, his ferocity is intact. He’s his own man. And just as he brushes by me, padding out the door, he gives me a little smile. Just for a second. That’s all I want. That’s all I need.

Q: The thing is, when you make a film [universe], the audience can see you’re doing it. You’re not hiding somewhere behind the scenes.

A: Right. And as I said, that’s on purpose. I want people to notice I’m cooking the bread. It’s interesting that way. I want them to experience many things, and one of them is: “there he is, he’s building one frame after another, he’s the cook, he’s the magician, he’s having a glorious time, he may be telling a gloomy story, but it’s really a comedy, because, if he wanted to, he could disassemble the whole thing and let it fall to pieces.”

Q: Why do you like that so much?

A: Because I believe life can be that way. There is that potential, let’s call it. If enough people existed in a certain state of mind, life could go on, and yet it could also fall apart, the misery and the inevitable plot, the suffering, the pain, that could all shake and rattle and disintegrate.

Q: There are people who don’t want that consciousness to spread. They want to control everything.

A: Sure. Well, you see what I did to Charles Kane. He was one of those people. I burned him up like cardboard.

Q: And at the end of Citizen Kane, you were also saying, “You see, this wasn’t really one of those addictive stories with a beginning, middle, and end, one of those stories that traps people. It was a magic show.”

A: Magic blows apart beginning, middle, and end. It plays with time and cause and effect. It revolutionizes them. This space-time container we live in. It’s a illusion. And my kind of magic, along the way, reveals and discloses the illusion. I’m a magician who breaks the code of secrecy of magicians.

Jon Rappoport

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

Obama and the State of the Onion Address

Obama and the State of the Onion Address

by Jon Rappoport

January 28, 2014

www.nomorefakenews.com

Apparently, the President had ingested some kind of weird drug, because when he stepped to the podium he didn’t look at the teleprompter. He just started talking.

“…like every other recent President, when I take to this platform I’m expected to tell a certain number of lies dressed up as the truth. And believe me, folks, I had a few whoppers ready to go.

“But now I feel like doing something else. I’m not going to delve into the many scandals of my administration, because examining them and taking them apart and exposing the lies would keep us here all night and into tomorrow.

“Instead, I just want to explain my overarching agenda. It’s the same agenda every modern President has fronted for. I’m not really doing anything new. That’s a myth.

“You see, in order to become President in the first place, I had to sign on to the scheme to debase, throttle, and weaken this country. I have my methods. Every President has his own.

“Weakening America is part and parcel of Globalism. Ultimately, America will not the lead the way into what has been called the New World Order. International heavy hitters, bankers, and corporations will carry that ball. America will go along, with its population of sleeping masses.

“So-called Pax Americanus, or imperial American empire, has been shelved, in favor of a much larger operation.

“My basic job is allowing all this to happen, so we end up with a global management system, in which the individual is enmeshed.

“With some degree of accuracy, you could say that everything I’ve been doing is a smokescreen to obscure the march of Globalism.

“We politicians view humans at large as dangerous and badly programmed biological machines. Until new programming can be inserted universally, we keep things in check. We hold the fort.

“For the next two years, I’ll continue clamping down on rights and freedoms. I’ll support the Surveillance State. I’ll take away guns. I’ll step up psychiatric intervention. I’ll increase debt. I’ll keep unemployment high. I’ll probably launch a few more military interventions. Expect more mass shootings, which are covert actions, with appointed patsies to take the fall.

“I’ll allow the expanded militarization of local police forces. I’ll intercede, wherever possible, to stop individuals from living off the grid. I’ll try to mangle the spirit of self-sufficiency in whatever form it occurs.

“I’ll assist mega-corporations. I’ll keep as many doors open for Monsanto as I can.

“You get my drift. It’s business as usual. In my case, I’ll try to up the ante and intensify the collapse of America.

“Did someone put something in my cigarette or coffee? I’m telling the truth. It feels strange, very strange.

“Anyway, here’s to One World under one authority. It’s the only solution to our problems. Trust me, I wouldn’t mislead you. Give up, give in, take the ride. It’s not so bad. Resistance is a fool’s errand. The people who are running things are out to destroy independence. Let them. By the time they’re finished, you’ll see that ‘equality’ isn’t so bad.

“One final random thought. Agents of the US government killed Martin Luther King. In case you didn’t know that. Good night and good luck.”

Jon Rappoport

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

The blockbuster movie called Reality

by Jon Rappoport

January 28, 2014

(To join our email list, click here.)

I’ve had a number of requests to repost this piece. The kernel of it was born in a series of nights at the LA Factory Theater with director Scott Kelman. He ran an informal group called The Liars’ Club.

Each one of us would go up on the stage and tell, in the most convincing way we could, a giant lie about our past. A story.

And the strange thing was, after listening to a few of these stories, we lost the difference, we couldn’t figure out whether they were true or false.

One night, in fact, after I’d told a rather grisly tale, I rode home with a friend. She was angry with me. She said, “How could you have done that?”

I said, “Done what? We were all telling lies, right? Lies.”

She fumed in silence.

Then she said, “No, that wasn’t a lie. You really did that.”

There is always a certain amount of whining and remorse as one enters the theater, after buying the ticket.

Is this a good idea?

You can already feel a merging sensation. The electromagnetic fields humming in the theater, even before the movie starts, are drawing you into the space.

Your perception of x dimensions is narrowing down to three.

You take your seat. You look at the note you’ve written to yourself, and you read it again:

“Don’t forget where you came from. Don’t forget this is just a movie. Don’t fall asleep. The serial time in the movie is an artifact. The binding feeling of sentimental sympathy is an induction. It’s the glue that holds the movie fixed in your mind.

“The movie will induce nostalgia for a past that doesn’t exist. Don’t surrender to it.

“You’re here to find out why the movie has power.

“You want to undergo the experience without being trapped in it.

“The content of the movie will distract you from the fact that it is a construct.”

The lights dim.

On the big screen, against a gray background, the large blue word REALITY slowly forms.

Suddenly, you’re looking at a huge pasture filled with flowers. The sky is a shocking blue. You can feel a breeze on your arms and face.

You think, “This is a hypnotic trance weapon.”

Now, the pasture fades away and you’re standing on an empty city street at night. It’s drizzling. You hear sirens in the distance. A disheveled beggar approaches you and holds out his trembling hand.

He waits, then moves on.

You look at the wet shining pavement and snap your fingers, to change it into a lawn. Nothing happens.

You’re shocked.

You wave your hand at a building. It doesn’t disappear.

Incredible.

You reach into your pocket and feel a wallet. You walk over to a streetlight and open it. There’s your picture on a plastic ID card. Your name is under the picture, followed by a number code. On the reverse side of the card, below a plastic strip, is a thumbprint.

There are other cards in the wallet, and a small amount of paper money. You look at the ID card again. There’s an address.

Though it seems impossible, you remember the address. You see a small cottage at the edge of an industrial town. There’s a pickup parked in the driveway.

It’s your truck. You know it. But how can that be?

You walk toward larger buildings in the distance.

Three men in uniforms turn a corner and come up to you. Behind them emerges a short man in a business suit. He nods at you and holds out his hand.

You know what he wants. You pull out your wallet and give it to him. He looks at the ID card, at you, at the card again.

“You were reported missing,” he says.

“Missing from what?” you say.

“Your home. Your job. What are doing here? Are you all right?”

“I’m fine,” you say. “I was…taking a short trip. I’m just out for some air.”

“In this part of the city? That’s not smart. We’ll take you home. Our car is right over there.”

One car sits on a side street. In large red letters printed on the trunk are the words CARE AND CONCERN.

You walk with the men to the car.

Waves you’ve never felt before are emanating from it.

Mentally, you try to back up from them. They’re targeting your body. You feel a haze settle over you.

In the haze dance little creatures. They’re speaking. You try to hear what they’re saying.

Now you do. “Reality, reality, reality.”

You look at the short man in the suit. He’s smiling at you.

Suddenly, his smile is transcendent. It’s so reassuring, tears fill your eyes.

But you’re thinking, “They built this so I would be lost, and then they found me. I’m supposed to be rescued. I’ve never experienced being rescued before. I never knew what it meant.”

You hear faint music.

It grows louder. As you near the car, you realize you’re listening to a chorus and an orchestra. The rising theme is Victory.

One of the uniformed men opens the car door.

You nod at him.

“My pleasure, sir,” he says.

The music fades away.

The scene shifts.

You’re standing next to the pickup in your driveway along side your cottage.

You’re home.

Think, you tell yourself. What’s going on?

You recognize your mind is now divided into two parts. The first part registers sensations from this reality. Feedback. These sensations are meant to be sorted, in order to answer the question: HOW AM I?

The second part of your mind is entirely devoted to perceiving problems and solving them. Everything at this level is organized to constitute problems.

You were never aware of these two sectors of your mind before.

Where did they come from?

Now, as you walk into your cottage and instantly remember the rooms and the objects in these rooms, an accompanying sensation of Familiarity, slightly out of phase, grows stronger.

You realize, without knowing how, that you’re supposed to feel tremendous relief. This is what’s expected of you.

It’s expected of everyone. They live with one another through the touchstone of the Familiar. They share it like bread.

They keep coming back to it. The Familiar is a sacrament.

It’s built in. It’s invented through…electromagnetically induced fields. It’s stamped on every object in this space…

To suggest you’ve been here before. To suggest you belong here.

As you look around the cottage, you apprehend a third sector of your mind. You struggle to identify it.

It’s the fount of a different kind of perception.

Yes.

You keep staring at the cottage and you see space.

You see space that…

Has been placed here. For you.

It, too, is threaded with the Familiar.

And at that moment, there is a small explosion behind your head.

And you’re sitting in the theater again.

The movie is playing on the screen. All around you, in the seats, people are sitting with their eyes closed.

You feel a tap on your shoulder. You turn. It’s an usher.

“Sir,” he says. “Please follow me.”

He leads you up the aisle into the lobby, which is empty.

An office door opens and a young woman steps out. She strides briskly over to you.

“You woke up and came back,” she says. She gives you a tight smile. “So we’re refunding your money. It’s our policy.”

She drops a check into your hand.

“What happened in there?” you say. “What happened?”

She shrugs.

“Only you would know that. You must have done something to interrupt the transmission.”

“And the rest of those people?”

She looks at her watch. “They’re probably into their fifth year by now. The fifth year is typically a time of conflict. They rebel. Well, some of them do. They rearrange systems. They replace leaders. They promote new ideals.”

“I had such a strong feeling I’d been there before.”

She smiles. “Apparently it wasn’t strong enough. You’re back here.”

“How do you do it?”

“I’m sorry,” she says. “That’s proprietary information. Did you meet your family?”

“No,” you say. “But I was in a cottage. It was…home.”

She nods.

“If you hadn’t escaped, you would have been subjected to much stronger bioelectric bonding pulses. Do you have a family here?”

You start to answer and realize you don’t know.

She looks into your eyes.

“Go out to the street,” she says crisply. “Walk around. Take a nice long walk for an hour. You’ll reorient. It’ll come back to you.”

“Why do you do it?” you say.

“Do what?”

“Sell this trip.”

“Oh,” she says. “Why does a travel agent book a vacation for a client? We’re in that business.”

You turn toward the exit. The sun is shining outside. People are walking past the doors.

You take a deep breath and leave the theater.

The street is surging with crowds. The noise is thunderous.

You notice you’re carrying a rolled up sheet of paper in your hand.

You open it.

It’s a non-disclosure agreement.

“If you return from from your movie experience, you agree to reveal or discuss, under penalty of law, nothing about its nature, substance, or duration…”

You look at the sheet of paper, make up your mind, and it bursts into flames.

Exit From the Matrix

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

Jon Rappoport

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

The man who sold space

~a short story~

by Jon Rappoport

January 28, 2014

www.nomorefakenews.com

Smith, who some people mistakenly called God, had a problem.

Ever since he was a child, he’d wanted to sell space. But as an adult, he realized there was an infinity of it, in fact several infinities, and such abundance was bad for business.

So he and three friends came to Earth and began promoting the absurd idea that space was at a premium. They said it was hard to get, and going fast.

Earth was a good place for his business, because most people had no idea they had, in addition to physical space, their own. Meaning, the space they invented, the space of interior visions, which could be made into reality.

Interior territory, in fact, was one of those infinities.

But if you asked people about this, they usually said: “Huh?”

Smith and his pals prospered. They won contracts from governments. Politicians were dedicated, in every possible way, to shrinking the concept of space. For others.

After a few thousand years, Smith and Co. had engineered human consciousness to regard space as an illusion.

Smith would tell a client, “Look, there isn’t any. But I know a guy. He lives on top of a mountain. He’s got a line on a small piece of black market space. It’s very, very expensive, but if you’re serious, I might be able to lay my hands on it for you. His stuff is pure. It isn’t the delusional crap, it’s the genuine article. One square inch of it runs about six million, delivered.”

Turned out the man on the mountain was the high priest of a church. His own church. He held secret services. His religion was ultra-exclusive. Invitation only.

Eventually, Smith took to selling atoms.

“Hey,” he said. “I’m offering you the only thing that’s available. A square inch? No one can afford that anymore. Maybe an atom. Possibly a neutron or a quark. Most likely a quark.”

He was the man behind the curtain. Governments consulted him frequently. When he spoke, they listened and obeyed.

Exit From the Matrix

One night, Smith was having supper at a little joint in Lower Manhattan. He could move about anonymously.

It was late and the restaurant was empty.

A man walked in and went over to Smith and sat down.

He said, “Aren’t you the lunatic who conned everybody into developing amnesia about space? Yeah, it’s you. Well, I’m putting it back on the market. Cheap. A whole lot of it. As much as people want.”

Smith stopped twirling spaghetti on his fork.

“You can’t do that,” he said. “I own space.”

“That’s where you’re wrong,” the man said. “Right now, I’m inventing fourteen galaxies.”

Smith smiled. “Oh, you must be one of those of crazy artists,” he said. “I thought we wiped all of you out, or put you away in institutions.”

“We’re slippery,” the man said. And he reached out his hand and gestured in the air, and the little restaurant fell away like an old dream and there appeared a huge black sky full of stars…

“You see?” he said. “It’s easy.”

Smith screamed like he’d been hit with a bolt of lightning. He fell on the floor and writhed and wriggled.

“Infinity,” the man said. “Maybe you can sentence fifty people to live together in one room, but you can’t outlaw infinity. It pops back up.”

Smith tried to think about something else. But he couldn’t. He saw rooms and corridors and lobbies and streets and roads and fields and mountains and valleys, and each one of those separate spaces revealed itself as endless.

He saw symbols, which had been put in place to plant “shrinking ideas” in people’s minds, and now the symbols shattered like crockery and blew out into the universe and universes beyond.

He fought to maintain his position, but it was no use. Now, the worst thing happened. He felt his own endless space and knew he was infinite—and that this was true for every soul.

The con of cons was done. Over.

Paintings miles wide appeared before him, and these paintings were worlds. The Centrality of coagulated illusion was going away.

A fresh wind was blowing.

Earth was still there, but it was a stage, a platform, on which billions of souls were rising out of deep narcosis.

“Eternity!” Smith shouted. “There goes my career!”

Coda: In 1591, Giordano Bruno wrote: “…and even as infinite space is around us, so is infinite potentiality, capacity, reception, malleability, matter.”

On February 17, 1600, in the Campo de Fiori, in Rome, the Church burned Bruno at the stake.

Jon Rappoport

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

Exposed: Sandy Hook shooter’s biggest threat still lives

Exposed: Sandy Hook shooter’s biggest threat still lives

by Jon Rappoport

January 26, 2014

www.nomorefakenews.com

Adam Lanza, the purported Sandy Hook School shooter, is the subject of an ongoing investigation in Connecticut. No, it’s not a police probe, it’s about “mental health.”

The investigation is all about Lanza’s medical history, what diagnoses were made, who the doctors were, what psychiatric drugs they prescribed Lanza.

The Governor of Connecticut is ultimately in charge, in order to make recommendations about improving “mental health” in the state and preventing future violent tragedies.

But the inquiry has stalled. And stalled.

Despite multiple agencies apparently having possession of Lanza’s medical/psychiatric history, these reports have been held close to the vest and not released.

Why?

There are a number of reasons.

First and obviously, the psychiatric drugs didn’t make Lanza better, they made him worse; and some of those drugs, like the SSRI antidepressants, are known to cause violent behavior, including homicide.

The Assistant Attorney General of Connecticut, Patrick Kwanashie, remarked, when asked why the list of psychiatric drugs Lanza took over his lifetime wasn’t being exposed: “[It] would cause a lot of people to stop taking their medications.”

Rightly or wrongly cause people to stop? Kwanishie meant wrongly, but the truth is: rightly.

Here are telling quotes from two recent Sheila Matthews AbleChild.org articles that suggest further reasons why Lanza’s psychiatric history isn’t being revealed in detail:

“What is known is that Adam [Lanza] was treated over many years, by many mental care practitioners, for his disorders.” Can’t expose all these doctors’ failures.

“Adam’s primary psychiatrist was Dr. Paul Fox who, in 2011, surrendered his license to practice medicine in Connecticut and New York, destroyed his records and moved to New Zealand.” Well, doesn’t that raise some juicy questions.

“The last known treatment for Lanza was from the Yale Child Study Center…Nancy Lanza [Adam’s mother] reported to Yale that Adam was experiencing an adverse reaction to the psychiatric drug, Celexa, prescribed by Yale.” Celexa is an SSRI antidepressant, and as mentioned above, all the SSRIs are known to produce violent behavior in patients. (See the website, SSRI stories.)

To further indict Yale (an eternal Connecticut institution of great prestige), here is a quote from the State Police Report re Adam Lanza: [Dr. Robert A King of the Yale Child Study Center…indicated] “that serotonin reuptake inhibitors [SSRI antidepressants], agents such as Zoloft, Luvox, Celexa, Lexapro or Paxil are useful in reducing those symptoms [of depression]…”

I suggest you read the work of psychiatrist, Dr. Peter Breggin, to discover the actual effects of these drugs: destabilization, manic states, violence, etc. Start with Breggin’s landmark book, Toxic Psychiatry.

Yet more reasons why Adam Lanza’s true and complete psychiatric- drug history hasn’t been published thus far? Connecticut Governor Dan Malloy has, at the very least, a strong sentimental attachment to Yale, since he is a lifelong dyslexic and Yale has a center devoted to the study of dyslexia.

More importantly, to the degree that Yale could be exposed and absorb tremendous negative publicity re Lanza, the governor of Connecticut wants to protect that institution. It’s part of his job description.

Then there is the little matter of the Governor’s son, Ben, being arrested on a 2009 charge of trying to steal marijuana from a man. The Governor remarks that Ben was suffering from severe depression, is in treatment now, and is doing well.

Does this mean the criminal charge was vacated in favor of psychiatric treatment? Does the Governor want to risk negative exposure for a psychiatric system that saved his son from doing jail time?

But above and beyond all these reasons why Lanza’s complete and detailed psychiatric-drug history has been hidden, there is this:

Connecticut is home to a collection of important pharmaceutical companies. And yes, Virginia, there is something called the domino effect. If Lanza’s meds were publicly connected to the Sandy Hook shooting, it would be bad for the overall medical-drug business. Very bad.

These drugs companies protect each other when the chips are down, because they’re all selling highly toxic drugs, and that basic secret has to stay in the closet.

Here is a list of drug and medical research companies that have either corporate headquarters or significant research facilities in Connecticut:

Bristol-Myers Squibb; Boehringer-Ingleheim; Rib-X; Purdue; Alexion; Achillion; Pfizer.

Pfizer, of course, manufactures Zoloft (an SSRI antidepressant) and Xanax, a highly addictive drug given for anxiety and panic attacks.

Do all these corporate brethren of toxic drugs exert major influence in Connecticut state politics?

Is the Pope Catholic?

Circling the wagons to prevent Lanza’s psychiatric-drug history from exposure would be on their to-do list.

The Matrix Revealed

Finally, all roads in Connecticut lead to Yale. The University engages in a boggling amount of medical research and teaching activity. Who pays for it? Here is a list of some of its corporate funding partners who engage in pharmaceutical-related business:

Boehringer; Bristol-Myers; Roche; Merck; Ziopharm; Achillion; CuraGen; Metrum Research Group; and Orbi Med, a company which does asset management in the “global health sciences” sector, and has $5 billion in assets.

A 2008 Archstone Consulting study concluded: pharma companies added more than $14 billion to the Connecticut economy in that year. And Connecticut colleges and universities laid out about $600 million for bioscience research in 2008, which was 81% of their whole academic R&D pie.

Connecticut is a relatively small state. To have all these pharmaceutical titans converge on it, and especially at the state’s most famous institution,Yale—versus releasing one boy’s psychiatric-drug history, an event which could start a domino effect within the whole pharmaceutical industry….who is going to exert pressure? Who is going to play its cards? Who is going to call in favors to keep secrets?

The names Sandy Hook and Newtown, however, are now so famous that, somehow, we may see Adam Lanza’s concealed psychiatric records emerge into the light of day.

Peter Lanza, Adam’s father, says he has his son’s medical/psychiatric records and is willing to release them to the investigating commission.

However, this doesn’t mean the public will ever see them.

Big Pharma, day in and day out, celebrates its massive proliferation of drugs for every condition under the sun, including those conditions which are invented out of wholecloth. It creates the illusion that the drugs are absolutely necessary, in order to maintain health.

Admitting that this is all propaganda, and further confessing that some of its drugs routinely kill people and push them over the edge into violence is not part of their program.

And when it comes to an event as explosive as Sandy Hook, accepting blame because the accused shooter was ingesting, for years, psychiatric drugs that scramble neurotransmitters and cause extremely violent behavior…that is out of the question.

The pharmaceutical illusion must be maintained.

A film in which I was interviewed, and on which I worked as associate producer, American Addict, is now available at Netflix and other platforms. (See americanaddictthemovie.com). Dr. Breggin is interviewed, as well Dr. Barbara Starfield, the late revered public health expert, who blew the whistle on medically caused deaths, in her landmark study, “Is US Health really the Best in the World” (JAMA, July 26, 2000).

Jon Rappoport

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

Operation Snowjob

Operation Snowjob

~a short story~

by Jon Rappoport

January 24, 2014

www.nomorefakenews.com

What follows is fiction. It may bear some resemblance to reality.

Of the 73,000 files Justin Whitehead stole from US National Security Agency (NSA), only one is reproduced here.

Whitehead refuses to comment, except to say it is a faked forgery.

But this alleged file creates a commentary about Whitehead himself, and is therefore of interest.

What you will read is a transcript of an illegally taped, purported conversation between two men, two cousins: former US Secretary of State Aaron Stanton, and Michael Oswald, the director of the CIA.

It is presumed that NSA recorded the conversation.

Michael Oswald, CIA Director: Listen, Aaron, Darlene told me she believes your marriage can be saved. She’s willing to talk. You don’t raise three children and then just walk away because you had an affair. I’m sure you felt “liberated” with a much younger woman. I’ve seen pictures of her, and she’s certainly beautiful. But did you ever think you were being set up? They do that, you know. They send in a honeypot, and then they nail you to the wall. But now Darlene knows. She’s a very stable person. She can handle it.

Aaron Stanton, former US Secretary of State: That’s not why I came here to talk. We can chew that subject to pieces some other time. I want to talk about Justin Whitehead.

Michael Oswald: I just wanted to assure you the CIA did not send the woman to you.

Aaron Stanton: Whitehead once worked for CIA.

Michael Oswald: Yes, he worked for us. In 2009. In Geneva. He was head of computer security, under diplomatic cover.

Aaron Stanton: He quit. He went to work in the private sector.

Michael Oswald: So?

Aaron Stanton: Why did he quit?

Michael Oswald: Apparently, he became disillusioned. He witnessed one of our little operations with a Swiss banker. We helped the man out of a jam, and he subsequently gave us confidential information about numbered accounts.

Aaron Stanton: Sounds pretty thin to me. This boy Whitehead quit the CIA because he discovered you people turn civilians into assets? What did he imagine the CIA does? Sponsor knitting parties?

Michael Oswald: Whitehead was and is unstable. Who knows why people like him act the way they do?

Aaron Stanton: Michael, that’s self-serving. After the fact, after he steals all those secrets, you say he’s unstable. I’ve watched his press conferences. He appears to know exactly what’s he’s doing. And on top of that, he’s perfect in the role of dissident patriot, for the yuppie computer generation. He’s young, white, wan, thin, with that little stubble, those glasses. I’m convinced that if he were 50, bald, with a pot belly, he wouldn’t have aroused nearly as much favorable sentiment.

Michael Oswald: So now you’re a profiler?

Aaron Stanton: I’ve heard rumors.

Michael Oswald: Such as?

Aaron Stanton: The CIA’s turf war with NSA. The battle over budget money. The fact that human intelligence, which is the CIA’s bread and butter, has taken second place to electronic spying.

Michael Oswald: Jesus. You’re saying we helped Whitehead steal all those files, just to fire a torpedo into NSA?

Aaron Stanton: Well?

Michael Oswald: That’s ridiculous.

Aaron Stanton: Would you even know? As Director, you’re miles above operations.

Michael Oswald: I would know, believe me. As soon as Whitehead went public, we launched an internal investigation. We’ve put together every shred we have on Whitehead’s days with the CIA. Nothing sticks out. He’s just a wild card. No one could see it coming.

Aaron Stanton: Or your people are hiding the truth from you. They would, you know.

Michael Oswald: Where is this coming from, Aaron?

Aaron Stanton: It wouldn’t be the first time an employee of the CIA quit or retired, but was still working for you. It also answers the question of how he was able to get to all that secret NSA data. He had help. From your people. They set this whole thing up.

Michael Oswald: I could spin a dozen wild hypotheses about Whitehead. But none of them would be true. He was a lone operator. He was very talented. NSA gave him access to everything.

Aaron Stanton: You should know there are people at NSA who believe Whitehead is still working for the CIA.

Michael Oswald: Of course there are. NSA wants to get off the hook. They want to blame us, or someone else, for their own problems and screw-ups.

Aaron Stanton: People who work as spies lie. They’re trained to. This whole thing is a mess because…who can you believe?

Michael Oswald: By that theory, there is no answer and there never will be. Doubt everybody all the time—that’s a self-defeating philosophy. You have to put your faith somewhere.

Aaron Stanton: I’m beginning to reject that proposition. Maybe doubt is the state of mind we need to cultivate.

Michael Oswald: What is this? A primer in existentialism?

Exit From the Matrix

Aaron Stanton: Whitehead leaves the US for medical treatment. He arrives in Hong Kong and stays there for almost a month. And the NSA can’t find him. But two reporters can. They meet with him, and he turns over all his stolen files to them. Do you see how absurd that is?

Michael Oswald: So the CIA helped conceal him in Hong Kong? Is that what you’re suggesting?

Aaron Stanton: The Whitehead story line doesn’t make sense. He joins the Army and is accepted into a training program for the Special Forces. Why? Because he’s a physical marvel? Obviously, because of his computer skills. But then he breaks both legs in an accident, and he’s discharged from the service. Why? He can’t operate a computer anymore?

Michael Oswald: I don’t know anything about that.

Aaron Stanton: Well, you should.

Michael Oswald: Who sent you to talk to me, Aaron?

Aaron Stanton: The Vice President. And he’s no doubt acting on behalf of the President.

Michael Oswald: The President? Who has his ear?

Aaron Stanton: I would assume the NSA does.

Michael Oswald: Are you saying this whole thing could blow up and affect us [CIA]?

Aaron Stanton: Not out in the open.

Michael Oswald: I need to meet with the President.

Aaron Stanton: Consider this a preliminary to that meeting.

Michael Oswald: You’re going to pass along what I say here?

Aaron Stanton: Parts of it. But I want to give you cover if you need it.

Michael Oswald: The Vice President should know the CIA has important details about what really happened in Benghazi. And Operation Fast&Furious is also on our radar. Don’t ask, don’t tell works on both sides.

Aaron Stanton: Yes it does. The Vice President knows the CIA and DEA made highly illegal arrangements to protect the Sinaloa drug cartel, in exchange for Sinaloa providing intell on other cartels.

Michael Oswald: As usual, it’s a standoff.

Aaron Stanton: That’s true. However, the NSA is the joker in the deck. Nobody really knows how much information they’ve gathered on politicians and what they’re willing to leak to the press. So they’re in a strong position with the White House. The whole situation could become unstable, unbalanced.

Michael Oswald: Which is precisely why NSA needs to be taken down a few notches.

Aaron Stanton: Are you saying that’s what the CIA did in the Whitehead affair? He is your man?

Michael Oswald: I’m not saying anything. All of us…maintain an equilibrium with each other. We protect America, and in doing so we sometimes step outside the boundaries.

Aaron Stanton: My extra-marital dalliance…it was exposed by the files Whitehead stole. So I’m on your side, Michael. I want NSA to feel pain. I wouldn’t balk if Whitehead is the CIA’s man and he’s sticking it to those people.

Michael Oswald: There’s something else you should know. We have evidence that NSA has been spying…how shall I put this, spying on where black-budget money actually goes. They have files on it, going back a number of years. Huge amounts of federal money that have been derailed, diverted, stolen. Were that information to be leaked, it would be devastating.

Aaron Stanton: Significant heads would roll.

Michael Oswald: Many heads. NSA must be curbed.

Aaron Stanton: This is a very delicate situation.

Michael Oswald: In a reasonable world, if I have something on you and you have something on me, we stay silent. We protect each other.

Aaron Stanton: Here is what I think happened. At some point, while Whitehead was stationed in Geneva, working for the CIA, he was profiled extensively by his own people. They discovered he was a bit of a loose cannon, a “libertarian,” with strong patriotic feelings.

So a few men approached him. They hinted that they were looking for a man to perform a risky bit of business, for the sake of the Republic. They told him the modern Surveillance State was going too far, it was endangering people’s basic rights, and the NSA needed to be exposed.

Eventually, Whitehead responded positively to this suggestion. So these CIA people, who were vetting him, who might have been real patriots themselves, or just agents with orders to take down the NSA, explained the mission in detail. Whitehead, if he volunteered, would go to work for the NSA a few years hence, and he would be given access [with vital CIA help] to an extraordinary range of documents detailing NSA surveillance operations.

Whitehead would leave the country with these documents and leak them to the press. Of course, he could never come back to America, and he would face dangers, but the CIA would do everything in its power to protect him. And Whitehead agreed to take on this role.

Michael Oswald: An interesting tale. Are you outlining a novel?

Aaron Stanton: No. I’m just putting pieces together.

Michael Oswald: And where are you getting these pieces?

Aaron Stanton: Think about it. NSA has floated at least three explanations for how Whitehead was able to stroll into work and steal the farm. They said he had a thumb drive, a weapon against which the greatest, smartest, and richest spy agency in the world was powerless. Then they said Whitehead had obtained passwords from colleagues at the office, an equally absurd story. They also said Whitehead was such a natural genius, NSA put him in charge of security-oversight, with access to “everything.”

We’re supposed to believe that NSA, for all its spying efforts around the world, simply forgot to lock its own doors. It forgot to install an internal security system that would thwart its own employees and contractors.

Far more likely, NSA does have exceptionally good security. But highly trained and dedicated professionals, from a rival agency, the CIA, were able, over time, to crack that system. And then their front man, their lone wolf, Whitehead, was given his cache of files, and he walked out of work and never came back.

Michael Oswald: No comment. Except that you’re delusional.

Aaron Stanton: I no longer have faith in the mission. And I’m not just talking about the American government’s agenda, but any government’s.

Michael Oswald: A thinking person has to take sides.

Aaron Stanton: But suppose reality makes that impossible?

Michael Oswald: I don’t know what you’re talking about.

Aaron Stanton: Suppose reality is a charade?

Michael Oswald: At the CIA, we work with charades all the time.

Aaron Stanton: Well, consider that you’re inventing illusions in order to support other illusions. The CIA and the NSA are two dream merchants fighting for turf, fighting for the right to define What Is for everyone else.

Michael Oswald: I don’t see anything wrong with that. Somebody has to say, “This is real.”

Aaron Stanton: How about the individual?

Michael Oswald: There is no such thing. The individual is dead.

Aaron Stanton: Well, I’m certainly glad we can agree on something. We don’t need humans in their present state. We would do far better with androids.

Michael Oswald: We’re working on it.

Jon Rappoport

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