The blockbuster movie called Reality

The blockbuster movie called Reality

by Jon Rappoport

April 14, 2014

www.nomorefakenews.com

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.”

OK, here’s the piece…


There is always a certain amount of whining and remorse as one enters the theater to see the movie called Reality, 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.

You 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 alongside 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.


Exit From the Matrix


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 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.

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 at www.nomorefakenews.com

Artist exceeds the limits permitted by brain researchers

Artist exceeds the limits permitted by brain researchers

~a short story~

by Jon Rappoport

April 12, 2014

www.nomorefakenews.com

The year was 2054. The artist, living on the edge of the city in a small room, picked up his messages and discovered one from the Bureau of Mind Management. It was an order to appear.

In an office on the 15th floor of a virtual building, he sat in a chair surrounded by a ring of yellow tulips. A holographic interrogator materialized.

“We have a report on you,” the iFigure said. “It indicates an output difficult to measure or interpret. What can you tell us about this?”

“Well,” the artist said, “I’m composing a symphony.”

“A symphony? What is that?”

“It’s a piece of music written for a large orchestra.”

“I find no extant orchestras in the country.”

“That’s true,” the artist said. “Nevertheless, I’m composing.”

“Why?” the iFigure said.

“For that day when an orchestra may come into being.”

“Your thought impulses entered ranges we were not able to summarize.”

“I suppose that means your instruments are limited,” the artist said.

There was a pause.

“Your statement is incendiary,” the iFigure said. “It suggests we are imposing a restriction. As you well know, the science is settled on this point. We measure and interpret thought that contributes to an overall positive outcome, for the population at large.”

“I’m aware of that, yes,” the artist said. “But the science rests on certain assumptions. I would call it greatest good as a lowest common denominator.”

“What do you mean?” the iFigure said.

“You assume a certain mindset contributes to the consensus reality you favor. You legislate or permit a range of thought that will produce the consensus.”

“That’s a gross oversimplification.”

“It doesn’t describe the algorithms you employ,” the artist said, “but all in all I believe my summary is correct. You’re reality makers. You monitor thought-emissions, and when you find a departure from ‘combined averages,’ as you call them, you issue a citation.”

“What is this symphony you’re composing?” the iFigure said.

“It’s impossible to explain. It’s music.”

“It has a specific message?”

“No. If it did, I would write out the message and leave it at that.”

“Why have we not heard of you before?” said the iFigure.

“Because I was doing illustrations for the Happiness Holos.”

“What happened?”

“I became bored. A machine could make those pictures. So I decided to compose music.”

“The Happiness Holos are an essential social program.”

“Perhaps,” the artist said. “They encourage people to stay on the positive side of a fantasy-construct called Positive&Negative, which as you know is a State-sponsored theme. But what is superficially indicated by those two opposing sets is, in fact, fuel for the fire.”

“Fuel for what fire?”

“The creative fire. The artist can use and transform any material.”

“Where did you hear such a thing?” the iFigure said.

“Nowhere,” the artist said. “I’ve experienced it many times.”

“Your views are highly eccentric,” the iFigure said. “I will have to consult your childhood history to understand their roots.”

“I’m afraid that won’t do you any good.”

“Why not?”

“Because your version, the US Department of Psychology version of cause and effect, is propaganda for the masses.”

“This is your idea of a joke?” the iFigure said.

“Not at all.”

“When you compose this…symphony, how do you think?”

“It’s not thinking in the way you use the term,” the artist said.

“No? Then what do you do?”

“I invent sound.”

“Preposterous.”

“Large masses of sound.”

“Absurd. According to what underlying pattern?”

“None,” the artist said. “I assume you’re from The Library of Structures. You won’t find my activity in the catalogs.”

“All structures and patterns are contained in the files.”

“I doubt that,” the artist said. “But regardless, I don’t invent through pattern.”

“No?” the iFigure said. “How then?”

“I improvise.”

“And this term refers to?”

“Something done spontaneously,” the artist said.

“And you exceed prescribed ranges of thought in the process.”

“Perhaps. I would hope so. I don’t keep track.”

“You’re being flippant,” the iFigure said.

“I knew you’d cite me,” the artist said. “I’m just trying to enjoy myself until you pass sentence.”

“There is no sentence,” the iFigure said. “You’re an anomaly. We investigate. We consider. We direct resources. We question. We determine.”

“I’m afraid,” the artist said, “that your and my idea of ‘determine’ are quite different.”

“Let me ask you this,” the iFigure said. “When you are composing, do you ever believe you enter into a realm or area that could be called ‘non-material’?”

“Not if you’re referring to some fairyland. But all thought is basically non-material. The brain registers it after the fact. Thought, the real thing, doesn’t take place in the brain.”

“You’re deluded,” the iFigure said. “And disordered.”

“If I could simply confess to that and be on my way, I’d be a happy man. But I’m sure you have charges to attach.”

“You live in a society,” the iFigure said. “To keep the peace and maintain the Positive, from which all good things flow, science has discovered that thought should occur within certain parameters.”

“If you insist.”

“We want to study you. It’s a great honor to be called. You could help extend the boundaries of research.”


Exit From the Matrix


The artist was about to ask whether he had a choice, when a holographic webbing that looked curiously like a rainbow clamped him tight in his chair. The pressure increased.

“We register some variation from the norm in your present thinking,” the iFigure said.

“What present thinking?” the artist said.

“What you’re thinking right now.”

“That was quick.”

“The readouts are instantaneous…what are you doing?”

The artist took up from where he’d last left off, composing his symphony.

“I’m starting the third movement,” he said.

“Wait,” the iFigure said. His left arm sizzled and disappeared.

“This is the thunderstorm section,” the artist said.

The pressure of the rainbow around him relaxed.

The iFigure said, “What you’re doing is disruptive.”

“It’s because of how you set your frequencies,” the artist said.

He continued composing.

All along the major esplanade, and in the lake area, and in the industrial parks and residential high rises, virtual structures shattered like glass.

Then adjoining suburban towns blew away into the sky of the communal apparatus. The iFigure reminded the artist of one of those ancient neon signs, broken, buzzing, blinking. Finally, it went dark.

Ten thousand holographic government buildings started to explode, froze, and vanished.

The artist said to no one, “I’m just composing. Well, maybe not just.”

He was suddenly back in his room at the edge of the city. But now there was no edge and no city. The room felt like a vehicle traveling through space.

“I suppose this is what they mean by a negative consequence,” he said.

The room increased velocity and…jumped.

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 at www.nomorefakenews.com

Are black-budget ops creating new meta-crimes?

Are black-budget ops creating new meta-crimes?

by Jon Rappoport

April 10, 2014

www.nomorefakenews.com

The Surveillance State has created an apparatus whose implications are staggering. It’s a different world now. And sometimes it takes a writer of fiction to flesh out the larger landscape.

Brad Thor’s novel, Black List, posits the existence of a monster corporation, ATS, that stands along side the NSA in collecting information on every move we make. ATS’ intelligence-gathering capability is unmatched anywhere in the world.

On pages 117-118 of Black List, Thor makes a stunning inference that, on reflection, is as obvious as the fingers on your hand:

“For years ATS had been using its technological superiority to conduct massive insider trading. Since the early 1980s, the company had spied on anyone and everyone in the financial world. They listened in on phone calls, intercepted faxes, and evolved right along with the technology, hacking internal computer networks and e-mail accounts. They created mountains of ‘black dollars’ for themselves, which they washed through various programs they were running under secret contract, far from the prying eyes of financial regulators.

“Those black dollars were invested into hard assets around the world, as well as in the stock market, through sham, offshore corporations. They also funneled the money into reams of promising R&D projects, which eventually would be turned around and sold to the Pentagon or the CIA.

“In short, ATS had created its own license to print money and had assured itself a place beyond examination or reproach.”

In real life, whether the prime criminal source is one monster corporation or a consortium of companies, or elite banks, or the NSA itself, the outcome would be the same.

It would be as Thor describes it.


We think about total surveillance as being directed at private citizens, but the capability has unlimited payoffs when it targets financial markets and the people who have intimate knowledge of them.

“Total security awareness” programs of surveillance are ideal spying ops in the financial arena, designed to suck up millions of bits of inside information, then utilizing them to make investments and suck up billions (trillions?) of dollars.

It gives new meaning to “the rich get richer.”

Taking the overall scheme to another level, consider this: those same heavy hitters who have unfettered access to financial information can also choose, at opportune moments, to expose certain scandals and crimes (not their own, of course).

In this way, they can, at their whim, cripple governments, banks, and corporations. They can cripple investment houses, insurance companies, and hedge funds. Or, alternatively, they can merely blackmail these organizations.


power outside the matrix


We think we know how scandals are exposed by the press, but actually we don’t. Tips are given to people who give them to other people. Usually, the first clue that starts the ball rolling comes from a source who remains in the shadows.

What we are talking about here is the creation and managing of realities on all sides, including the choice of when and where and how to provide a glimpse of a crime or scandal.

It’s likely that the probe Ron Paul had been pushing—audit the Federal Reserve—has already been done by those who control unlimited global surveillance. They already know far more than any Congressional investigation will uncover. If they know the deepest truths, they can use them to blackmail, manipulate, and control the Fed itself.

The information matrix can be tapped into and plumbed, and it can also be used to dispense choice clusters of data that end up constituting the media reality of painted pictures which, every day, tell billions of people “what’s news.”

In this global-surveillance world, we need to ask new questions and think along different lines now.

For example, how long before the mortgage-derivative crisis hit did the Masters of Surveillance know, from spying on bank records, that insupportable debt was accumulating at a lethal pace? What did they do with that information?

When did they know that at least a trillion dollars was missing from Pentagon accounting books (as Donald Rumsfeld eventually publicly admitted on September 10, 2001), and what did they do with that information?

Did they discover where billions of dollars, in cash, shipped to post-war Iraq, disappeared to?

When did they know the details of the Libor rate-fixing scandal? Press reports indicate that Barclays was trying to rig interest rates as early as January 2005.

Have they tracked, in detail, the men responsible for recruiting hired mercenaries and terrorists, who eventually wound up in Syria pretending to be an authentic rebel force?

Have they discovered the truth about how close or how far away Iran is from producing a nuclear weapon?

Have they collected detailed accounts of the most private plans of Bilderberg, CFR, and Trilateral Commission leaders?

For global surveillance kings, what we think of as the future is, in many respects the present and the past.

It’s a new world. These overseers of universal information-detection can enter and probe the most secret caches of data, collect, collate, cross reference, and assemble them into vital bottom-lines. By comparison, an operation like Wikileaks is an old Model-T Ford puttering down a country road, and Julian Assange, reviled as a terrorist, is a mere piker.

Previously, we thought we needed to look over the shoulders of the men who were committing major crimes out of public view. But now, if we want to be up to date, we also have to factor in the men who are spying on those criminals, who are gathering up those secrets and using them to commit their own brand of meta-crime.

And in the financial arena, that means we think of Goldman Sachs and JP Morgan as perpetrators, yes, but we also think about the men who already know everything about GS and Morgan, and are using this knowledge to steal sums that might make GS and Morgan blush with envy.

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 at www.nomorefakenews.com

My writer’s tutorial

My writer’s tutorial

by Jon Rappoport

April 8, 2014

www.nomorefakenews.com

As my readers know, I’ve just launched my third mega-collection, Power Outside The Matrix: The Invention of New Reality.

One section of that collection is an eight-and-a-half hour audio presentation, The Writer’s Tutorial. This has been a long time coming. I’ve had many requests for it over the years.

It is a tutorial, in the sense that I give many specific advices to writers and people who want to be writers. But it goes a lot farther than that.

It’s about a core of imagination and power. That “inner place” is the wellspring from which a whole life can be lived. It’s language as energy.

The discovery of hidden energy, the invention of energy, worlds in the making—this is what the writer is involved with.

Many writer’s seminars urge students to “write about what they know.” That’s just one approach. Writing about what you don’t know is another avenue. What you don’t know, for a journalist, means research. For a novelist, poet, playwright, it means invention, it means knowing in a very different sense.

It means imagination. It means the desire to build new worlds.

I can mark great changes in my life by writers I’ve read. Writers give us confidence that our dreams and visions are real, more than real. Writers rescue us from the ordinary.

They even whisper in our ears, “You can do this, too.”

In my tutorial, I move from the large overarching theme of what being a writer is all about, to specific clues about how to write, how to make feelings and ideas operate on the page.

Whether you’re aiming for poetry, fiction, journalism, or simply reports at work, I’ve brought everything I can to the table.

I leave the matter of getting published to the professional magazines. In this tutorial, I speak to people who want more. More of a Voice that can move them and their readers to new heights.


power outside the matrix


Being a writer is, in part, about being a riverboat gambler—shoving in all your chips on your inner resources.

For a writer, or for anyone who wants to live a creative life, those resources turn out to be endless. Finally, we are talking about a capacity to imagine, a capacity that has no limit.

The overused word “spiritual” really does apply here, because it is through imagination and invention that a person eventually discovers answers to the great questions of life. Those answers are his own, not the second-hand myths broadcast by authority figures.

There is another payoff. Creating worlds of your own gives you intimate knowledge of how those-who-would-be-our-masters try to impose their world on us.

In 1978, Philip K Dick wrote: “…today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups…So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms…it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.”

As a writer, as a person living a creative life, ideas and energies and language and images and visions are your own. What a wonderful thing. What a fantastic enterprise. What an adventure.

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 at www.nomorefakenews.com

Al Sharpton: how deep is the con?

Al Sharpton: how deep does the con go?

By Jon Rappoport

April 8, 2014

http://www.nomorefakenews.com

Here’s the current breaking Al Sharpton story—From April 7, The Smoking Gun:

The former mob snitch [Sharpton] has become a regular in the White House, where he has met with the 44th president in the East Room, the Roosevelt Room, and the Oval Office. He has also attended Obama Christmas parties, speeches, policy announcements, and even watched a Super Bowl with the First Family…

His [Sharpton's] former confederates were a decidedly dicier lot: ex-convicts, extortionists, heroin traffickers, and mob henchmen. The man’s [Sharpton's] surreptitious recordings, FBI records show, aided his government handlers in the successful targeting of powerful Mafia figures with nicknames like Benny Eggs, Chin, Fritzy, Corky, and Baldy Dom…

In fact, by any measure, Sharpton himself was a Mafia ‘associate,’ the law enforcement designation given to mob affiliates who, while not initiated, work with and for crime family members.”

http://www.thesmokinggun.com/documents/investigation/al-sharpton-764312

But let’s travel back to 2004. Reporter Doug Ireland, who has written for The Nation, TomPaine.com, In These Times, and LA Weekly, went deeper in evaluating Sharpton’s motives and allies.


power outside the matrix


From here to the end of this article, I’m quoting Ireland, from his February 21, 2004, article, “Rev. Al Sharpton: FBI Informant-Roger Stone’s Bitch,” originally published in LA Weekly and at webstonne.com, and then Conspiracy Planet:

In his 2003 autobiography, Al on America, the Rev. Alfred Charles Sharpton Jr. admits, “I have been guilty of letting ungodly things around me.”

And that was never more true than with the latest [2004] revelations about Sharpton, who has now been exposed as a cat’s-paw for the National Republican Party.

Rev. Al has a long and sordid history of posing as the champion of the have-nots, while renting himself out to the greedy have-everythings, which predates his ’04 GOP-funded presidential campaign. In 1986, he endorsed N.Y. Senator Al D’Amato for re-election — although D’Amato, a conservative Republican pit bull, was anathema to more issues-attuned black leaders.

In 1994, he helped dampen down the black vote for [Democrat] Governor Mario Cuomo by making a media-hyped appearance with successful conservative Republican candidate George Pataki just days before the election. In the 2001 New York mayoral campaign, he connived with GOP billionaire Michael Bloomberg in the defeat of the Democratic candidate, Mark Green.

But Sharpton has not limited himself simply to supporting candidates considered by most to be inimical to the interests of the impoverished black community.

A 1988 investigation by the Long Island daily Newsday revealed that Sharpton, who denounces African-American leaders who disagree with him as “yellow n*****s,” had been a longtime FBI informant in a scheme to entrap black leaders and personalities on drug-related matters, even going so far as to wear a wire to record their conversations for the feds.

How did the FBI turn Sharpton into their bitch?

Why, they caught Rev. Al up to his hairdo in a drug-money Laundromat in which Don King, the much-indicted boxing promoter and a longtime pal of Sharpton’s, was a central figure. What’s more, the drug deal was an FBI sting — and the feds had it all on videotape, too.

Just two years ago, Bryant Gumbel — the second most popular black on television next to Oprah — aired on his HBO Real Sports show an FBI videotape of Sharpton discussing laundering money from a South American drug dealer via King with Michael “Sonny” Franzese, a former Colombo family captain.

Sharpton was going to arrange a meeting with King and the coke peddler to set up the deal. But the “South American” was an FBI agent, Franzese had already been turned by the feds into an informant and Sharpton fell right into their trap.

Sharpton became a sting artist for the feds when he was himself stung. After the tape aired, Sharpton announced he was going to sue HBO for a billion bucks. Nothing has been heard of the lawsuit since then.

Now, in his current presidential campaign [2004], Sharpton has been revealed as a wholly owned Republican subsidiary. Sharpton has been used by Republican operatives to discredit real contenders for the Democratic nomination. And the more prominent a place on the Democratic stage Sharpton can command, all the way to Boston, the more the Republicans can use the wisecracking but polarizing preacher-without-a-church as a bogeyman to frighten moderate voters away from the Democratic ticket.

That’s the story behind the blockbuster report in the February 5 Village Voice ” the L.A. Weekly’s sister paper in which veteran Voice investigative reporter Wayne Barrett and his team unveiled the malevolent forces keeping Sharpton’s campaign alive: “Roger Stone, the longtime Republican dirty-tricks operative who led the mob that shut down the Miami-Dade County recount and helped make George Bush president in 2000, is financing, staffing, and orchestrating the presidential campaign of Rev. Al Sharpton.”

Who is Roger Stone? A slash-and-burn Republican black-bag election tamperer and consultant…Stone first made news in the Nixon Watergate scandal, when it was revealed that the 19-year-old apprentice McCarthyite had infiltrated George McGovern’s 1972 presidential campaign as part of CREEP’s sabotage plan.

A few other highlights of Stone’s career as the boastful black prince of Republican sleaze: Stone helped Ollie North raise money for the Nicaraguan contras, and was a close associate of the notorious Lee Atwater (the GOP hit man who created the race-baiting Willie Horton TV spots for Bush 1988 presidential campaign).

The New Yorker’s Jeffrey Toobin in his excellent book, Too Close To Call, about the 2000 Florida election — details how Stone was summoned by Bush recount chief James Baker to disrupt the vote counting (Stone and his Cuban wife, Nydia, organized a screaming mob of Miami Cubans outside the headquarters of the canvassing board — Stone directed the mob by walkie-talkie from across the street — and intimidated the board into ending the count).

On the stump, Rev. Al has frequently denounced the theft of the presidential election in Florida — which depended in large measure on invalidating black votes.

For example, he told a Democratic National Committee meeting last October that “We are witnessing a nonmilitary civil war; it started with the recount in Florida.” So, hopping into bed with Stone might strike many African-Americans as “ungodly” hypocrisy. But the tale gets worse.

When Sharpton launched a vicious attack on [Democrat] Howard Dean for his supposed “anti-black agenda,” the man behind the curtain was Stone, who crowed to The New York Times that he “helped set the tone and direction” of the blast at Dean, while the research for it was provided by the man Stone had installed as Sharpton’s campaign manager, Charles Halloran, one of a half-dozen top aides to Sharpton who worked for Stone in previous campaigns.

A member of Stone’s stable who stays at Stone’s Central Park South apartment in New York while working for Sharpton, Halloran — just before taking over the Sharpton campaign — had been managing the parliamentary campaign for one of Stone’s numerous foreign clients: the United Bermuda Party, a white-led party trying to oust the resort island’s first black government.

Since Rev. Al’s presidential campaign [2004] is really all about trying to succeed Jesse Jackson as America’s premier black political leader, the installation of Halloran is thus an odd choice indeed, one that can be explained only by Sharpton’s dependence on the money funneled into his campaign by Stone. (Halloran’s wife works for the infamous Carlyle Group, the military-industrial-complex giant of which Bush was a longtime officer.)

Stone has acknowledged that he “helped Sharpton” meet the 20-state, $5,000-contribution threshold required for federal matching funds….

…Sharpton’s almost penniless campaign has been sustained only by money given or raised by [Republican] Stone or by Stone-arranged credit with consultants — without which the campaign would collapse. The [Village] Voice alleges that Stone loaned some $270,000 to Sharpton laundered through Rev. Al’s National Action Network (NAN), and that Stone rang up $18,000 on his credit card for Sharpton’s campaign-travel and other expenses.

In the wake of these revelations, the Federal Election Commission is about to consider [2004] whether the Sharpton campaign expenses picked up by NAN with the money provided by Stone, and other unpaid-for campaign services provided by Stone and his chums, constitute illegal campaign contributions, according to The New York Times.

The Stone revelations show that Rev. Al’s presidential campaign is nothing more than another scam he’s running on black Americans, one designed to undermine the movement to defeat George Bush. Fortunately, black voters aren’t as gullible as the cynical Sharpton thinks they are — they know an unprincipled huckster when they see one.

Which is why Sharpton — despite the help from his GOP bedmates on which his campaign depends — has been rejected by significant majorities of African-Americans this year at the polls.

*** Doug Ireland is a New York-based media critic and commentator whose articles appear regularly in The Nation, Tom Paine.com, and In These Times among many others. This article first appeared in the LA Weekly.

Originally published:

http://www.webstonne.com/DIreland.html

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 at www.nomorefakenews.com

Jon Rappoport special announcement: new mega-collection: Power Outside The Matrix

Introduction to POWER OUTSIDE THE MATRIX

by Jon Rappoport

April 6, 2014

www.nomorefakenews.com

Power Outside The Matrix has been 30 years in the making, and I’m very happy to announce it is now available.

This mega-collection is all about achieving power outside The Matrix and stabilizing that power.

It features a long section called: Analyzing Information in the Age of Disinformation.

This section is filled with specific examples of my past investigations. Based on 25 years of experience, it shows you how to take apart and put together data that lead to valid conclusions.

It is far more than a logic course.

It’s an advanced approach to analysis.

Establishing power outside The Matrix requires that a person be able to deal with today’s flood of information, misinformation, and disinformation. I’ve left no stone unturned in bringing you a workable approach to analysis.

There is a further extensive section titled, A Writer’s Tutorial. People have been asking me to provide this Tutorial, and here it is in spades. But it’s not just for writers. It’s for any creative person who wants to grasp his own power, understand it, and use it to reach out into the world.

My Tutorial exposes you to lessons that go far beyond what is normally taught in writer’s seminars. In fact, several core concepts in the Tutorial contradict ordinary writer’s seminars, and thus give you access to inner resources that would otherwise be ignored.

Another section of this mega-collection, titled Power Outside The Matrix and The Invention of New Reality, features creative exercises you do on a daily basis that will help you move toward the goal of power outside The Matrix. The exercises are all about increasing your energy and stability.

Access to your internal energy, in huge amounts, is necessary for a life outside The Matrix—rather than relying on the illusory energy that The Matrix seems to provide.

This is a key fact. I’ve developed the exercises for exactly that purpose: your energy, your dynamism, independent and self-sufficient.

And finally, I have included a number of audio seminars that offer a wider perspective about The Matrix and what it means to live and work outside it.

Here are the particulars. These are audio presentations. 55 total hours.

* Analyzing Information in the Age of Disinformation (11.5-hours)

* Writer’s Tutorial (8.5-hours)

* Power Outside The Matrix and The Invention of New Reality (6.5-hours)

Then you will receive the following audio presentations I have previously done:

* The Third Philosophy of Imagination (1-hour)

* The Infinite Imagination (3-hours)

* The Mass Projection of Events (1.5-hours)

* The Decentralization of Power (1.5-hours)

* Creating the Future (6-hours)

* Pictures of Reality (6-hours)

* The Real History of America (2-hours)

* Corporations: The New Gods (7.5-hours)

I have included an additional bonus section:

* The complete text (331 pages) of AIDS INC., the book that exposed a conspiracy of scientific fraud deep within the medical research establishment. The book has become a sought-after item, since its publication in 1988. It contains material about viruses, medical testing, and the invention of disease that is, now and in the future, vital to our understanding of phony epidemics arising in our midst (and how to analyze them). I assure you, the revelations in the book will surprise you; they cut much deeper and are more subtle than “virus made in a lab” scenarios.

* A 2-hour radio interview I did on AIDS in Dec 1987 with host Roy Tuckman on KPFK in Los Angeles, California.

* My book, The Secret Behind Secret Societies

(All the audio presentations are mp3 files and the books are pdf files. You download them upon purchase. You’ll receive an email with a link to the entire collection.)


power outside the matrix


At the core of consciousness, there are two impulses in the individual. The first is: give in, surrender. The second is: express power without limit.

The teaching of every civilization and society is: don’t use your power.

When you follow the second path, when you express your power without limits, remarkable things happen.

The veil of illusion melts away.

You meet yourself on new ground.

You know what your freedom is for.

Without imposing on the freedom of others, you live the life you always wanted.

That’s what Power Outside The Matrix is all about.

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 at www.nomorefakenews.com

What’s wrong with Zen?

What’s wrong with Zen?

By Jon Rappoport

April 5, 2014

www.nomorefakenews.com

Nothing is wrong with Zen, except the people who practice it.

That’s a joke. Sort of.

In the modern style, especially in America, Zen is mostly meditation, and more meditation, and more meditation, and the point of it seems to be to get to a zero point, where you can watch your own mind, your own thoughts, and finally, without effort, stay separate from them, separate from all that radio static, and separate also from your own unbidden parade of emotions that swing by with tooting horns and crashing symbols and clacking drums and gawking dancing clowns.

A laudable goal.

But on the whole, how many people who do this wind up becoming passive? That’s the thing. People tend to opt for quietness.

Whereas, the whole idea ought to be: launch a tremendous amount of dynamic action from the platform of zero-stillness.

Because stillness as a way of life sooner or later begins to disintegrate.

In original Zen, there were ordeals. The teacher gave the student things to do, tasks which eventually became absurd, without discernible purpose. The teacher spoke to the student in riddles and wisecracks. The teacher drove the student into a state of desperation, because the student’s rational faculties, which were obsessively involved in systems, couldn’t supply answers to questions which defied logic.

The teacher did whatever he had to do to bring the student out over the edge of the cliff, where in mid-air, there were no foundations…and the student felt terror. But the teacher persisted.

And then, in one explosive moment, the student found himself floating in the air. He saw there was no need to explain his existence. There was no need to place a veil between himself and the present moment. He didn’t die. He was, finally, alive.

Who knows how this radical approach actually worked out in the many cloisters and huts and cottages where it was practiced, where the stories grew and expanded in their retelling.

But compare the image of silent monks in robes, their heads shaved, gliding through temples, with this old Zen story about a teacher and a prospective student (from AshidaKim.com):

A soldier named Nobushige came to Hakuin, and asked: “Is there really a paradise and a hell?”

“Who are you?” inquired Hakuin.

“I am a samurai,” the warrior replied.

“You, a soldier!” exclaimed Hakuin. “What kind of ruler would have you as his guard? Your face looks like that of a beggar.”

Nobushige became so angry that he began to draw his sword, but Hakuin continued: “So you have a sword! Your weapon is probably much too dull to cut off my head.”

As Nobushige drew his sword Hakuin remarked: “Here open the gates of hell!”

At these words the samurai, perceiving the master’s discipline, sheathed his sword and bowed.

“Here open the gates of paradise,” said Hakuin.

Those old teachers were tough characters. They weren’t merely meditation instructors.

There was another aspect of Zen, which survives to this day. It could be summarized as: “become the other.” The archer becomes the target. He becomes the bow, the arrow, and the target.

The runner becomes the road and the air and the sky and the clouds. The artist becomes the canvas.

The theater of merging with the other.

And as in any theatrical setting, the actor can, by choice, merge with, and un-merge from, his role.

But again, in these times, the main thrust of Zen teaching seems to be meditation, and the culture of stillness, quietude, and passive acceptance.

I’m not saying the meditation is easy to do. It isn’t. But somehow, its environment has become circumscribed.

This is unsurprising in America, where every philosophic and spiritual import from Asia has been distorted and watered down for the seeker-consumer. The overriding intent has been to create The Quiet Person.


The world of action has been painted as too disturbing to the “student seeking inner peace.” Therefore, retreat. Therefore, set up a buffer zone within which all is harmonized and balanced.

Where is the Zen now that sends people out into the world to revolutionize it down to its core, that stimulates the desire to find and invent a Voice that will shatter delusions and create new realities that have never been seen before?

If the moment of insight, satori, doesn’t instigate this, what good is it?

How can satori be “seeing into one’s true nature,” if the result is a wan gaze out on a uniform landscape of soft-boiled bupkis?

The answer is obvious. Breaking apart, exploding the primary illusions and fears that hold an individual in check is not the goal of most Zen as it is now practiced. That objective has been replaced with the false promise that some ultimate “ordinary consciousness” will reconcile the soul with itself.

The way this promise is offered and the way it is taught and the way its surrounding social culture is embroidered is a dud. Dead on arrival.


It’s time for a few new koans.

What is the real sound of David Rockefeller? What does Henry Kissinger say when somebody finally puts him in a small bottle with a cork on it? How does an android disguise himself as a human?

If I need a Zen teacher, I’ll go to Henny Youngman: “A doctor gave a man six months to live. The man couldn’t pay his bill, so he gave him another six months.”

In the beginning, the whole point of Zen was to shake things up, not calm them down.

The master assumed a new student was an annoying clod. But that doesn’t comfortably mesh with today’s “tolerant culture.” Today, annoying clods are a special interest group.

Silence, as a key Zen feature, isn’t only about a desired inner condition now. It’s about a synthetic attitude. So show me a temple where the meditation room is outfitted with a few dozen giant TV screens. The students do their meditation while CNN, Christingle Matthews, Sean Hannity, Oprah, news-boy-on-a bike Brian Williams, the vampire Scott Pelley, don’t-cry-for-me-America Diane Sawyer, Hawaii Five-O, the Shopping Channel, Pawn Stars, Jimmy Fallon and his screaming pubescent audience, and four or five Spanish soaps are going full blast.

That would be a start.

Or throw on 20 or 30 TED lectures simultaneously—prancing grasshoppers extolling the future of technology.

I submit that if the one of the ancient Zen teachers walked into a modern American Zen cloister today, that’s exactly what he’d do. Turn on a few hundred TV sets, computers, and mobile devices and say, “Okay, try being quiet in the middle of this!”

Another Koan for our times: What did Bill Gates look like before he was Alfred E Neuman?

Zen is sacred? What? When was it ever sacred? Soft bells, empty halls?

No, you must have Zen confused with a funeral home.

Every age has its massive collection of heavily loaded apple carts, and the job of Zen is to overturn them. When up is down, and insanity is called normal, that’s where you begin.

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