(an excerpt, edited from The Magician Awakes)

By Jon Rappoport

June 5, 2012


This is not an easy subject to describe, because it is shot through with so many contradictions and subtle shades of deception. But if we’re to understand anything about magic in the true sense, we need to explore it from several angles.


Let’s start here: For many reasons, the window of history on The Individual is closing. One can view this with melancholy, or it can be the opportunity to stake out a new, stronger, uncompromising position on Self.


For centuries, humankind has been bombarded and caressed with the idea that everything good and important has a SOURCE somewhere ELSE.


This has attained truly hypnotic proportions.


I’m thinking of a group that currently preaches and teaches, perversely, that The Individual’s imagination and creative power emanate, like some steady-state hum, like some radio broadcast from The Universe. This balderdash sells very well, because people simply don’t have the confidence to declare what is already and inherently theirs. No, they need what is theirs to come from a mysterious and wonderful Otherness. They need that. They have to curl up in it like a cat in a blanket. Otherwise, they wouldn’t experience the hypnotic comfort they so desperately long for.


People refuse to believe they are strong enough or powerful enough or worthy enough to move through life without a Greater Principle feeding them metaphysical and spiritual chocolates every day in every way. This mindset is Hypnosis 101 personified.


I really don’t care what people believe. However, when I see so many people using their beliefs to submit to an Otherness so intensely and completely, I call it what it is: hypnosis.


A person, for example, can believe and surrender so fully to some Active and Dynamic Principle that he becomes passive! That’s right. It becomes a drug. And, of course, a complete contradiction.


Every deep belief has a symbolic component. In that sense, the substance and content of the belief matter less than the energy a person derives from it. So I’m not arguing here so much about content of belief, but only about the way a person uses it. And if we look around us, we see androids-of-belief, people who use their convictions to stay passive.


Earth changes.


It’s all going to happen TO us, not FROM us.


December 2012.


We’ll automatically enter a new age.


DNA changes.


Just wait a few minutes and your DNA will change and then everything will be better and different.


And so forth and so on.








Of course, whatever is deemed passive AND good is far more popular than what is deemed active, because active means you actually have to DO something.




Think about that one because it’s a key.


Jack True, the brilliant hypnotherapist I interview 43 times in my new collection, THE MATRIX REVEALED, eventually stopped using hypnosis altogether, because he realized the people coming to his office were already, “in a core part of their consciousness, hypnotized.”


Jack had many things to say about beliefs, based on his clinical experience. Here is a quote:


When I put people in a light trance, I would have them ‘travel’ to a place where they kept their beliefs, as if it were a landscape. When they arrived, I’d have them describe what they saw. The majority of my patients saw their own beliefs in one of two ways.


They saw dead energy, energy that had been used over and over until it had become like sludge. Or they saw their beliefs as engines of a kind, except the engines weren’t putting out energy, they were taking it in. Sucking it in. On closer examination, this ‘taking in’ proved to be un-dynamic. It was, in a real sense, sleep-inducing.”


Historically, we can see the evolution of a similar phenomenon. As the buttoned up era of the 1950s gave way to the turbulent 1960s, people all over the world began to believe that better times were coming. In fact, the future was here, and it was much happier. It was a New Age. Fueled by drugs and the fear of dying in a war in Vietnam, young people became active, quite active.


But once the war was over, there was a remarkable and sudden shift. Those very beliefs, as we entered the middle 1970s, developed a passive hue. They accumulated sludge. They took in energy, but not for dynamic use. Rather, the energy was “laid back.” Soporific. The New Age was still coming, but it was going to descend on us like an all-embracing rainbow delivered by a Disneyesque cosmos.


Magic isn’t sociological. It doesn’t depend on trendiness, on this era or that era. It isn’t an offshoot of a commonly held consensus. Therefore, real magic isn’t very popular. It has everything to do with stepping outside that consensus on many, many levels.


It has everything to do with the free individual, with dynamic self.


The dynamic and free individual, whether he is aware of it or not, begins to invent space and time. And energy.


And that is, for the individual, why magic surpasses history. Psychologically, history is over. The past is over. The serial cause-and-effect chain that is viewed as time begins to disintegrate. However, instead of leaving a passive vacuum in its place, what comes into play is creative and far-reaching inventing by the individual.


This is alchemical. The individual can tap into and use and transform energies, spaces, times, ideas, concepts, the past, the future as fuel for his creative fire.


I’ve told this story before, but I’ll tell it again here and place it in a slightly different context. Think of it as a living metaphor for what I’m discussing:


In the early 1980s, in the Lincoln Heights section of Los Angeles, an entrepreneur bought up a few acres of land and structures that had been a large facility of the Pabst corporation. Pabst had made beer there. There were small sheds and a few larger buildings.


One day, Pabst had shut the whole place down and walked away.


This entrepreneur came in and recast all the spaces as artists’ studios/living lofts. About 70 of them. All sizes and shapes. Old Pabst offices became studios. Tiny offices, large offices. Factory spaces with loading docks became studios. The corrugated sheds became studios. The place was now widely called The Brewery.


Artists moved in and quickly transformed those spaces in their highly individual ways.


And in an empty area between buildings, there was a chaotic mountain of disassembled metal parts from Pabst machines. Garbage.


Well, once the artists settled into their studios, they began to visit this mountain and look it over. They sifted through it. They took away pieces and used them in their work. They transformed them.


A year or so later, the mountain was almost gone. It was now part of hundreds of sculptures, assemblages.


The garbage bins on the property began to accumulate debris and leftovers, deposited by the artists—the useless aftermath of their production.


And they began to visit the bins and see what was there, and they found, in one another’s refuse, materials they could use again and transform in their new work again.


And so forth and so on.


I had a few friends who were living and working in one of the corrugated sheds. These spacious sheds had upper-floor lofts for sleeping. The ground floors were for work.


The day arrived when many of the artists opened their doors for a massive group show, for the public.


I put several of my paintings on display in my friends’ shed. So I was there, when about 1500 people showed up from all over the city and took The Brewery tour of 70 studios.


I took the tour, too.


On the basis of variety alone, it was absolutely staggering. Every living and working space was unique, to say nothing of the art. I called it an interplanetary excursion, because that’s what it felt like. By comparison, your normal gated apartment complex would be in the android-robot realm.


I remember two comments friends made to me that day.


One said, “I feel like I’ve been visiting science labs. It’s as if a company hired a bunch of maverick researchers and just set them loose in their own labs, to experiment, to push the frontiers in all directions…”


And the other comment: “If this kind of thing took hold and spread out over the whole city, if people just started creating art in spaces like this, everything would change. The way people think, what they do, what they say to one another, the way they relate, the way they see…”


Their beliefs, their energy, their imagination would change.


The artists at the Pabst nexus in Lincoln Heights weren’t waiting for a new reality to descend on them like a cloud. They weren’t passive. They weren’t relying on some Otherness. They weren’t stalling at the gate of a new life.


There is a line you cross with invention, with imagination, with creative power. And once you cross the line with enough intensity, you find yourself in a different world.


I know that world.


It’s actual magic. The real thing. Undiluted.


The vast organizing and controlling of society and its parts is, from that perspective, simply a postponement of a true Day One. It’s hypnotic absurdity.


EVERY human activity and endeavor can undergo this radical transformation. The potential exists. And once you see it and experience it and make it happen, you can look around and grasp what the term hypnosis really means.


We live in a number of spaces, and many of them are half-created possible-could-be futures. They came from people who started to innovate and then stopped. These spaces move. They float. They contain what might have been, but when seen head-on they are actually more real, even in their fragmentary form, than the consensus reality that passes for Reality.


Magic is invented. Paranormal phenomena are invented, created. Realities are imagined. The universe is one work of art out of a possible infinite number of works of art.


Loyalty to WHAT IS or even to a SUPER WHAT IS is misplaced. It’s a self-generated and self-induced trance.


Magic is its opposite.


How far can magic go? What is the limit on the ability of imagination to create new realities?


There is no limit. As Western history emerged from the Middle Ages, an unfolding of thought and action gradually took hold, and that unfolding, which was generated by individuals, was all about personal freedom from oppressive structures. Freedom from oppressive leaders who built those structures.


Then there was a counter-revolution. Its real leaders were and are secretive men who play with injecting chaos into the order they have championed. They build oppression and they then they tear it down. This whiplash effect is aimed at engendering the perceived need for a super-order, far more confining than what has gone before.


But, under the surface, what is this perverted game really all about? It’s about FEAR of what the free individual can CREATE. It’s about this inherent force in the free individual to imagine, invent, build, create, innovate ideas and realities that not only upset the established order, but reveal it for the stage-set it is.


Passively accepted reality ALWAYS amounts to a stage-set. Space is restricted, time is restricted, energy is restricted. These are all hallmarks of The Group, not the free individual.


When you live through and by imagination long enough and intensely enough, when you work to create new realities that reflect your most profound desires, on and on and on, you attain “escape velocity.” You move into a different state of mind. A state of mind that burns up hypnotic debris.


There are many pundits and ‘spiritual teachers’ who can’t abide this. And there are elites who are terrified of this, because they have tried to kill it in themselves, and they don’t want to be reminded that it still exists. When people say elites have gone over to “the dark side,” this is what it really means.


But magic is open and is infinitely wide and high and deep. It has no boundaries composed of programming. This is the space and the promise of the great journey. It has always existed and it will always will.


For those who want it, who want it ENOUGH.


Jon Rappoport

The author of an explosive new collection, THE MATRIX REVEALED, Jon was a candidate for a US Congressional seat in the 29th District of California. 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.