THE GOALS OF LIFE

 

SEPTEMBER 12, 2011. Thanks to those who have donated to the nomorefakenews fund drive so far. Your generosity is much appreciated. Details on how to make a contribution are at the end of this article.

 

Okay. Here we go.

 

A person would have a hard time counting up all the current spiritual sects, cults, and religious organizations that seek the goal of surrender.

 

Surrender in this context implies: “the individual” is really some primitive Separateness, from which one should graduate into merging with a Greater Reality.

 

The Greater Reality is variously defined as God, the universe, cosmic consciousness, collective consciousness, All One, etc.

 

The idea is that, sufficiently enlightened, the individual would see his path, up to that moment, had been restricted and confined, and the next step involves yielding his “separateness” for a far better future.

 

What has been hidden or given diminished attention is this: the evolution of the individual actually moves toward greater independence. Greater individuality. And not just independence from external forces, but from inner conditions as well; inner conditions that dictate in favor of weakness, confusion, fear.

 

A person entertains and accepts ideas and feelings that can make him less than what he is. He can mire in feelings and doubts that curtail, for example, the force of his own decision-making, the sense of his own power, the sense of his own control over his present and future.

 

Suppose a person believes his own past is a central hindrance to his life. Suppose he believes he can’t really move forward under his own power, making his own choices, because something in his past is keeping him down.

 

In that case, his full conception of his own individuality is distorted and blunted. He is in half-light, believing he is partially free and partially slave.

 

At that point, he can struggle to become freer, or he can find a philosophy that urges him to give up that quest, claiming it was always an illusion and instead, he should have been seeking ways to surrender his “separation” from Ultimate Spirit.

 

In the same way that a baby struggles to emerge from the womb, to move beyond the channel and the fluids that previously sustained him during the formative phase, evolution actually consists of freeing one’s self from the feelings and ideas that would legislate in favor of becoming “a part of a whole.”

 

Once having attained sufficient individuality, a person can go back and visit places of less freedom and operate within their contexts, much as an actor who has played King Lear can go back and participate in little plays for the kiddies—if he chooses to.

 

By “little plays for the kiddies,” I mean those environments in which people still cling to the notion that they are essentially surrendering to a Greater Reality in hopes of being absorbed in it.

 

I have seen many people who have talent give up that talent and even fail to recognize it exists, because they think they are severely limited and compromised by some elusive inner confinement.

 

And then, to top it off, they opt for connecting themselves to a philosophy that justifies surrender to “a greater Whole” as a more spiritually mature choice.

 

Whether on a political, economic, creative, or spiritual front, this is called Fascism. It can be hard or soft. Brutal or friendly.

 

But let’s leave this rather harsh discussion behind. Now we take a really adventurous step–

 

If such a person were really up for it, extended dialogues in the Magic Theater might work wonders. I’m not talking about an hour. I’m talking about many sessions in which the roles of, say, “Universal Consciousness” and “My Past” and “Separate Individual” and “Merging with the Whole” are acted out across a wide spectrum. There are electrifying possibilities here. A person PORTRAYS THESE ROLES, EMBODIES THEM, ACTS THEM, SPEAKS FROM THEM, IN DIALOGUE WITH ANOTHER PERSON.

 

Then the whole polarity of “separateness” versus “merging” breaks down and dissolves. What replaces it is THEATER.

 

Why bother to argue the merits of greater individuality versus group-inclusion, when you can break through into more power and creative force by ACTING the roles involved?

 

Playing these roles in the Magic Theater liberates all sorts of bound-up and walled-off energy. A new flexibility is attained. Spontaneity emerges.

 

This startling premise was announced to the world some 80 years ago by JL Moreno, who founded Psychodrama. The Magic Theater extends that premise by saying that existence itself can be put on a theatrical basis—and there is no limit to the number and types of roles that can be acted out. In fact, the roles eventually don’t need to have anything to do with the actors at all. At least not in any obvious sense.

 

You can have two people playing “an ant” and “a yellow phantom that dissolves galaxies.” Somewhere along the line, revelations will occur.

 

The Magic Theater plugs into the imagination, and in doing so, it brings into view miles and miles of material that was previously hidden. Or never existed.

 

For example, a person has hot flashes. She and another person play the roles of “a fence that is looking out on miles and miles of open plains” and “the reincarnation of Tesla.” Then they switch. Somewhere in all this, the hot flashes might recede. How? Who knows? It’s not a straight-line connection. It’s imagination operating at warp speed.

 

It’s about a lot of things, most of which are invisible and resolve by themselves.

 

The Magic Theater operates by allowing the imagination to enter, in the form of acting roles without limit…and in this enterprise, the action of creating and speaking from those roles widens drastically one’s relationship to reality.

 

The drugged state called normal living falls away like an old skin.

 

Here is an impossible fantasy for you. On national television, over the course of, say, three days, President Obama and an unemployed construction worker enter the Magic Theater. Their first dialogue is fairly predictable, but then they SWITCH ROLES. The construction worker is now the president and vice versa. Then they switch back. And so on and so forth. Eventually, their roles and dialogues tend more toward the archetypes of president and worker. Energies and emotions expand. The entire cliché of canned political speech disintegrates. The two men break new ground.

 

The television audience is taken far beyond its usual nodding status. Things are being said, feelings are being expressed that go beyond any format or expectation.

 

It isn’t the result that is so important; it’s the unwinding process.

 

Reality is punctured. The status quo is shaken.

 

Well, the Magic Theater has that potential, for those who are willing to participate in it.

 

Even what at first looks like a disability or deficit takes on dramatic possibilities for expression.

 

“Yes, you know, I thought my life was a mess, but ‘being in a mess’ has some interesting aspects when you use it as part of a role. It’s kind of exciting…”

 

Raise the level. Expand the level.

 

What can happen is only limited by the willingness of the participants to move into an adventure.

 

Here’s another opportunity. A person is asked to consider a picture of where he would be if he attained his goals in life. He describes that place, and then he is asked to talk about what he would be like as the champion of that quest. He does that, too. Then—and here is the interesting part—he plays the role of that character in a dialogue with his “opposite,” a character who has completely failed at attaining those goals. And then they switch roles.

 

The degree of insight and liberation possible, in these dialogues, is startling.

 

The whole journey to reach goals and fulfill them (which is what everybody is doing) is cast into a THEATRICAL light.

 

In the Magic Theater.

 

We enter life, we look around, and sooner or later we decide we need to be something, and so we make that happen. This is fine, this necessary for survival, this is interesting, this is energetic, and so on, and then…as time passes, as we become more proficient in these roles, things tend to slow down. We’re on the verge of becoming a piece on a chessboard, and that doesn’t feel so good. We’re motivated to look for something else, whatever that might be.

 

It turns out we need a crash course in Living 201, because we’ve already done 101. But now, we take a unique path. We come into the Magic Theater, where roles are so abundant. We’re speaking from those roles, and soon enough the clouds part and we see we have this native talent. We can, as the Tibetan magicians discovered long ago, be many things. We can move in and out of roles. We can gain new flexibility. We can return to our original role. It’s all open. No binding rules. Energy flows. The old boredom and the stress that built up around the central part we were playing dissipates. We’re freer. We can create in new ways. We can be stronger, in the same way a sapling can outlast an old oak in a high wind. There are no limits. No limits on creative force, on imagination, on power, on magic…

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

The nomorefakenews fund drive continues. To make a donation to this work, go to www.PayPal.com, click on the send-money button, enter the email address, qjrconsulting@gmail.com, and send your contribution. Many thanks for your support.

 

 

 

 

 

 

 

NO MORE FAKE NEWS FUNDRAISER

 

SEPTEMBER 8, 2011. In my ten years as the sole owner and writer for nomorefakenews, I’ve never tried a fundraiser, but here we go, I’m doing one now.

 

Since 2000, when I launched this site, I’ve written tons of words, and most of them have been offered for free. I continue to do that. You can read them at my site, or you can sign up for the email list and receive them in your inbox almost every day.

 

I was blogging long before the word came into use. I also was carrying out investigations, and providing unique information on deep medical fraud, politics behind the scenes, and many other current subjects.

 

Of course, my main thrust is imagination, creative power, and magic, and this information, too, is unique.

 

So now I’m letting you know that you can support the site and my work. You can buy products listed in the site store, or simply, through PayPal, make a donation, in order to keep the work going.

 

If you see value in the work, and you prefer it to TV, newspapers, mainstream thought, and caches of online hubs, consider donating.

 

Go to www.PayPal.com, click on the “send money” link, then enter the email address, qjrconsulting@gmail.com That gets you into my account. Then enter a sum of $$. You don’t have to have your own PayPal account to donate.

 

My strategy, over the last ten-plus years is the following: take things to the limit, and then go beyond the limit. Find and transmit the knowledge that makes a difference vis-a-vis human potential, the potential of the individual. Don’t settle for what I’ve already discovered. Go farther. Don’t water it down. Don’t talk down. Talk up. Frontiers are only interesting as long as they are the edge. When one edge has been covered, find a new edge.

 

At times, I’ve considered trying to “discover a happy medium.” I’ve considered “making my work more respectable” for the masses. I’ve considered creating a few slogans and turning them into a bandwagon I then try to load people on to. I’ve considered finding a few popular themes and hammering on them with mindless repetition, so I’ll be “better understood.”

 

Each time, I’ve said no. I’ve rejected those approaches. They stand for everything I abhor, because the people I would reach in that way are not the people I’m looking for. Nor am I looking for that person within myself. I came to the internet because I saw it as a way to publish everything I couldn’t publish as a working reporter.

 

I still have a passion for the work. It increases and clarifies over time. I have many projects I’m bringing to fruition, aside from my site. It would be lovely to have a billionaire step forward and offer major resources—at which point I, in turn, would offer everything I do as open source. Free. Seminars, books, lectures, DVDs, The Magic Theater, etc. But in the absence of that, I reach out to you.

 

I’ve lived three or four lifetimes in my last ten years on the internet. Things have happened that are truly remarkable. And it’s not slowing down. People from all over the planet are responding to the work. It’s very gratifying.

 

Each day is a fresh beginning, filled with as many possibilities and realities as I can discover and invent. I’m setting no limits and I know there are no limits.

 

That is my m.o. That’s how I operate. No holds barred.

 

This fundraiser will run through the end of September. I won’t be posting a giant thermometer indicating how much money has come in, but I will mention the fundraiser in my articles.

 

And with your help, moving forward will be a little easier.

 

Thanks,

Jon

www.nomorefakenews.com

qjrconsulting@gmail.com

 

RECOVERING ENERGY

 

SEPTEMBER 7, 2011. After writing about the Magic Theater, I’m figuring out plans for a seminar, how it can best be done, the setting, etc. Meanwhile, I continue to expand on the subject…

 

In the course of a normal person’s life, he attributes power, and therefore, energy, to things, processes, and people outside himself—increasingly so as he grows older.

 

This is laughingly called maturity or realism.

 

Actually, the process is mostly carried on subconsciously. Therefore, the person doesn’t quite understand what has happened to his own energy. He just knows he has less of it.

 

Of course, the basic premise here is that he has a certain finite quantity of energy, and in attributing it to Others, he loses a corresponding amount.

 

“I find out that Others have a lot more energy than I thought they did, so I have less…”

 

Which is absurd, because he can produce new energy.

 

In the Magic Theater, it’s so interesting when the person plays the role of someone to whom he has attributed a great deal of power. All of a sudden, he IS that person and he begins to experience the lost power and energy again, as he speaks FROM that character.

 

It’s a reversal. And quite often, a revelation.

 

We look out at the universe and we see and feel enormous energy there. But we make a comparison: all that energy THERE; much, much, less energy HERE. This literally sets the stage for our conception of our own role—a lower energy role. A role in a much smaller space.

 

This is the machination so many people fail to understand. We create the dimensions of the stage on which we perform our lives.

 

“I fit inside the world. I fit inside the universe.”

 

“There is this large, large space, and I live inside it in a tiny area.”

 

Yes, you do, as soon as you define your role that way.

 

But how could one define it otherwise, except as a vague intellectual proposition?

 

BY TAKING NEW ROLES.

 

BY ENTERING INTO THEATER.

 

BY ASSUMING A ROLE OF GREAT SPACE AND ENERGY.

 

THEATRICALLY.

 

And this is where dialogue is so important. When you SPEAK FROM such a large role, old defining and limiting energy configurations in consciousness break up. They no longer apply in the same way. They were there to bolster the much smaller role. That’s how we define our roles—by creating interior spaces and energy boundaries and shapes to cement in the roles.

 

There is nothing intrinsic in universe or ourselves that implies boundaries around what we can become or do. It may seem that way, but that’s the trick we play on ourselves.

 

None of this has anything to do with biology or brain paths or genes or the body per se. It has to do with conception, how we conceive of what we can do. The scope of it. The size of it. The energy of it.

 

The energy-projection exercises I offer in Mind Control, Mind Freedom, and The Transformations, if practiced on a consistent basis, can revolutionize that conception.

 

Look at the manmade myths of ancient societies. Apollo, Venus, Ra, flying dragons, Krishna, on and on—these are all figures of great power. People attribute power to them and then, correspondingly, invent stories about their own severely limited power. How convenient.

 

Breaking the chains…enter the Magic Theater, where you can play Apollo, Venus, Ra, the dragon. Where you can enter into a dialogue and speak as those figures of power.

 

I’m always amused when someone says, OH I COULDN’T DO THAT. Really? Are you kidding? What do you think you’re doing when you pay ten bucks and walk into a theater and watch an action/fantasy film up there on the big screen? Do you really believe those characters, those moving images have life independent of what you give them there in the dark? Do you really think you’re not momentarily merging with the heroes and becoming them? When you go to a concert, do you think you’re not merging with the music?

 

These are “becoming exercises,” and a thousand years ago, Tibetan magicians were practicing them every day.

 

To extend the practice, now, you enter the Magic Theater and actually SPEAK AS AND FROM those characters.

 

And now we come to an interesting crux. Because you see, people do merge with “roles of power” but they don’t want to admit that. They want to keep that fact in the dark. They want to do it secretly. They think admitting what they’re doing would be embarrassing. As adults, they’re supposed to be beyond that.

 

But who invented those roles and figures of power in the first place? Children? No. Adults.

 

Without too much of a stretch, you could say that adults invent the space and dimensions of their own lives by secretly projecting power to various other “greater personages”…and then living out the consequences of that action. Adults project power, in order to convince themselves they have no power. Yet another absurdity in a long string of absurdities.

 

Which is better? This dim charade, or the hyper-real magic theater, in which we finally speak as the power we have surrendered?

 

I once worked with a family, where the power relationships were causing all sorts of problems. So we went into theater. I staged a series of dialogues, in which the kids and the parents played each other. It was touch and go for a while, and then the whole thing turned into comedy. The dialogues were quite extraordinary, as these people turned out to be fine actors. They knew each others’ roles perfectly. You could feel the energies shooting around the room, and the laughter was explosive. Finally, when the whole thing settled down, the people realized, as the son said, “we’re all crazy.”

 

But not anymore. Father and mother assumed their rightful positions, the kids fell into line—but without force or threats. It wasn’t abject slavery or anything resembling it. Each person had become stronger and smarter. Each person was certainly freer. The right people were making decisions in the right situations. The daughter, in particular, underwent a personal revolution, after she played the role of her mother in the dialogues. The mother had basically been the tyrant in charge, and the daughter loved playing her. When the mother saw herself reflected back at her, through her daughter, she calmed down and dropped her “dictatorship of fear.”

 

The daughter told me she finally understood why her mother had turned into a monster—because somebody had to take charge in the family that was becoming an out-of-control mob. The father got the most out of playing his rebellious son, and told me he loved that part. But now he didn’t need it. He could actually be a father.

 

The two kids and the two parents were able to become a family, because nobody was claiming the others had all the power. That had been worked out through dialogue. It had been experienced. All four people had been power hungry, and at last the hunger had been satisfied. They got that message.

 

The last I heard, the mother was wearing, at Sunday dinners, a T-shirt that said I USED TO BE A MONSTER AND IT WAS GRAND. They built little dolls of each other and burned them in effigy. They told me it was an occasion for much joy and glee. I’m sure Child Protective Services, had they known, would have arrested the parents and sent the kids straight into foster care. But that’s the difference between the play called Government Bureaucracy and what can happen in the Magic Theater. Most people just wouldn’t understand. So be it.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

 

 

 

 

 

 

 

 

 

 

HIDDEN REALITIES

 

AND HUMAN POTENTIAL

 

SEPTEMBER 5, 2011. If you want to talk about Ultimates…

 

All metaphysics is a lie.

 

All theories of universe are lies.

 

All cosmologies are lies.

 

They are all A SUMMING UP of what exists at the highest and deepest levels. But there is no such thing as “the highest level,” because invention, creation, imagination, improvisation bring into existence what never existed before.

 

I continue to drive this point home, because it is our certainty about what exists that walls us off from our own creative potential.

 

What we can create is open, not yet formed, not fixed, not settled.

 

And that is where titanic energies are possible and that is where magic truly occurs.

 

Some people will do everything in their power not to understand this, because they have invested all their chips in being sure about what exists at the highest level.

 

I have no quarrel with this. I merely point out that reality, at any level, is astonishingly expandable and astonishingly create-able. It isn’t fixed, no matter how interesting or ultimate the fix might be.

 

Face it, most metaphysics ends up including the individual as PART OF SOMETHING LARGER. This approach is obsessive with humans. They love to consign themselves to a role in the play where the prime elements are towering above the individual.

 

This is how they diminish their own potential and power and imagination. It’s a fascinating piece of theater.

 

I once had a brilliant professor client who had written a tome about what he called Force X. He had composed a metaphysical tract that laid out a complex series of frequencies and entities, organically evolving, feeding into a universal force that radiated consciousness, arcane knowledge, and spawned “the energy of life,” pouring down into the physical universe.

 

He came to me because he felt he had reached the end of the line with his research. He was, in a way, stymied. He had achieved his goal. He wanted something else, but he didn’t quite know what it was.

 

He was very sure of himself. He could fence, intellectually, with the best of them. He rejected every approach that didn’t merge with his own explorations. He, in fact, made me promise I would never reveal the fact he had come to me, because that would indicate some deficit on his part. And he “knew” he had discovered the secret of life.

 

So, after some fruitless conversation, I convinced him to play the role of his Force X in a dialogue with me. I would play “a skeptical interviewer.” His job was to speak FROM the cosmic mind of Force X.

 

It took us three hours, and then the egg cracked. He finally got in touch with the immense power he had assigned to Force X. He felt it. It was no longer independent of him. He was embodying it—and then energy fireworks exploded all over the place.

 

The migraines he had been experiencing for years turned on and off like a light bulb. The pain went down into his belly and legs, and he reported it flowed out of his body like a long river. The chronic tightness in his shoulders and neck blew apart.

 

He began laughing—and he confessed he hadn’t laughed like that in a very long time. Color rushed into his cheeks.

 

And then we switched. I was now Force X and he was the skeptical interviewer. In this part of the dialogue, he challenged every principle he had built up in his own work. He attacked mercilessly. The more he drove home his points, the more serene I became.

 

Finally, he said, “Ultimate reality just took a hit.”

 

He was done.

 

He immediately wanted a good meal. We went out to a restaurant and ate. He was ravenous. He felt as if he’d been starving. He said, “You know, I’ve always wanted to write poetry.”

 

That night, he went home and wrote for ten hours. He told me it was the most cleansing experience of his life. He was launched in a new direction.

 

“You’re not going to tell me what to write, are you?” he said on the phone the next day.

 

“Are you kidding?” I said. “It’s your world.”

 

“That’s what I thought,” he said. “I just had to make sure you weren’t going to come in with a kicker at the end of all of this and try to make me go somewhere…”

 

“I’ve got no agenda,” I said. “Just create. That’s my only advice. And you don’t need it because you’re already doing it.”

 

The whole experience was a perfect example of what happens when reality becomes consciously theatrical. Dialogue. Roles. Switches.

 

WHAT EXISTS is the obsession.

 

CREATING is the life without end.

 

What I learned from that client is: metaphysics and cosmology are theatrical, when you break through their webs of explanation. At the end of the road of WHAT EXISTS is theater, if you can frame it in terms of spontaneous dialogue.

 

As I’ve written before—and it should be clearer now—religion is a poem that froze in mid-stride, after which it was used as cosmology to recruit adherents. But it was really a poem.

 

And if it had continued, the poet would eventually have gone into all sorts of different spaces, none of which implied the settling of the question about “ultimate existence.”

 

If you want ultimate existence, look to the poet himself. He’s the one who is creating.

 

I have worked with many writers, and the common denominator of what is called “writer’s block” is some idea, conscious or subconscious, that sums up “the way it is.” With such an idea in tow, the writer stalls. He begins to believe he’s gone as far as he can, because he already knows what is at the end of the road. This is patently false, and the proof is in the fact that the writer moves on. He keeps writing. He keeps imagining and creating.

 

Focusing on the block isn’t the answer. It’s just a convenient way of postponing the act of creating. It’s a “complaint,” and complaints never end, until the writer simply takes off in a new direction and keeps on inventing.

 

One such writer and I engaged in a dialogue between “writer” and “publisher.” The character of the publisher was highly critical and snobbish and of an elite nature. We each took both roles in the piece of theater, and finally the wall split in a torrent of energy and the writer found a cache of buried power.

 

In this case, there was a lot of anger mixed in with the power.

 

Some people believe anger is a “negative.” Creatively speaking, nothing could be further from the truth. It’s just another face of energy and it plays its part. Fear of anger is a cultural artifact, nothing more. It’s part of the vague “new age” and pop psychology nonsense.

 

In the magic theater of reality, a creator reaches out in many directions and improvises. He becomes a riverboat gambler, shoving in all his chips on his work—and he eventually discovers he has an unlimited supply of chips.

 

Social reality is limited theater, a series of small stage plays. But that’s only the beginning of the story, because a person can crack through that format and find open waters.

 

LIFE IS AN IMPOSSIBLE DIALOGUE WAITING TO HAPPEN.

 

In the magic theater, it happens. A person plays a role and speaks as something that, under ordinary circumstances, we are quite sure cannot speak at all.

 

A table.

 

A painting.

 

A sky.

 

A weapon.

 

A minotaur.

 

God.

 

A dead relative.

 

A glass of ice.

 

A cave.

 

A wall.

 

A city.

 

A star system.

 

An ant.

 

A microorganism.

 

If questioned, a person could make a list of a million things that can’t speak. This is, in a real sense, how he defines (sets boundaries on) reality.

 

And then, in the magic theater, he speaks AS several of these things. Imagination and improvisation take over.

 

And then, everything changes.

 

Here’s another example. A person shows up and says he feels a vaguely ominous cloud of anxiety that moves with him through life. Okay. That’s his role: “cloud of anxiety.” That’s who he speaks AS. That’s his part in the magic-theater dialogue. And who am I? A radiant being of infinite magnitude who has achieved cosmic consciousness. That’s my part. And we talk from those characters to each other. And then after a time, we switch roles.

 

And something happens. Something happens in the magic theater. He breaks through and sees and feels a wider reality. He can’t put a name to it because it has no name. But he gets out of the space which formerly defined reality for him. He moves out of all the thinking he was doing that was relevant to that old space.

 

He now has new thoughts and new feelings and new energies. How did it happen? Through theater. Through dialogue.

 

Or a person shows up who says his feelings are boxed in. His role in the magic theater? That box. That’s who is he going to play. Not the repressed feelings, but the repression itself. The box. He will speak as the box. And who am I? The mighty ever-flowing Orinoco River. I will play and speak as the River. And after a time, we’ll switch.

 

That which doesn’t speak (because we assume it can’t) now speaks. Imagination makes it so, in the magic theater.

 

A person fervently believes in the ultimate merging of all consciousness into one grand cosmic Allness? Great. That’s his role. My role is the last holdout in the universe, the last man standing who is the rebel, who will not merge. And then we switch. You see, the metaphysics implicit in this is just the stage set, the premise. It’s the fulcrum upon which the dialogue starts. It’s nothing more. This isn’t about what ultimately exists. In the dialogue, we create. We invent. We improvise. We take part in theater.

 

What ultimately exists is CREATING. And that is a process, that is action, that is dynamic, that is endless. It’s not a structure. Structure looks like it is Answer, but it isn’t. Structure looks like it is the shape of existence, but it isn’t. It is THE SILENCE THAT NEEDS TO SPEAK.

 

And if our view of reality denies that possibility, then we are stuck with structure. We are stuck with description. We are stuck with boundaries that hem us in.

 

The key that unlocks the door, finally, is giving voice to what we had assumed could not speak.

 

And then we discover that reality per se is a lie. It is a prop in a play. It is a starting point from which the silence will be broken.

 

We animate the silence.

 

We enter the magic theater, where all things are possible, because we’re inventing it that way. And lo and behold, when we DO invent it that way, we find magic. Energy flows. Power arrives. The impossible is possible.

 

This is how and why reality is an illusion. This is how imagination creates reality.

 

That which is dead and neutral and motionless and abstract, it turns out, is that way because we have made it so. That is how we carved out the shape of existence—and then we said, “Well, this is just the way it is. And something somewhere else created it like this.”

 

But in the magic theater, we reverse all that. And we then experience the extent of our power.

 

I spoke with a psychologist about some of this material a few years ago. He said, “Are you claiming that a pink and purple monster walking down Broadway is REAL? Is that what you’re saying?”

 

I told him he was missing the point. I told him that if he played the role of that pink and purple monster in a dialogue with me, and I played a cop with a pair of handcuffs who wanted to arrest the monster—and if we carried on a spontaneous conversation, in an improvised play, and then if we switched roles…something would happen. He, the psychologist, would experience something that would take him out into wider realities he had never felt before.

 

Well, he said—and I saw a glint in his eye—I don’t know about the monster, but if I were to do something like that, I’d want to play Freud. Who would you play?

 

I told him I would play God, the Old Testament God, full of sound and fury, a God who thought Freud’s theories were despicable.

 

He grinned. He like that idea. He liked the idea of going up against the Old Testament God.

 

Of course, I said, then we would switch. I would play Freud, and he would play a vengeful God.

 

He laughed. I could see he REALLY wanted to play God and unleash some energy and power and fury.

 

I could see he felt, at some level, that his own power was bottled up and he loved the idea of finally being able to embody it and project it.

 

You know, he said, when I was a boy my parents dragged me to synagogue every Friday night, and I hated it. I felt it was unfair. I was being told who to worship, who to bow down to. I was told he, God, had all the cards in the deck and I had none.

 

In other words, as a child, this shrink had found himself believing he had less power and something called God had much greater power. He had set up an energy-and-power formula, and he was on the short end of it.

 

And that is exactly where the magic theater achieves it reversal. Not merely by thinking about things, but by inhabiting roles and speaking from them. Then the encased energy breaks out of its cocoon and the “deficit-days” are over.

 

Reality is defined and bounded by asserting what is impossible.

 

But, in the magic theater, embodying and inhabiting and speaking AS AND FROM the impossible moves us out into the great ocean of our own being.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

 

 

 

 

 

BREAKTHROUGHS IN CONSCIOUSNESS

 

ENERGY EXERCISES, PART 2

 

SEPTEMBER 3, 2011. I want to give you further perspective on the energy exercises I offer in two audio seminars—MIND CONTROL, MIND FREEDOM, and THE TRANSFORMATIONS.

 

The exercises are all about projecting energy across space. It’s a natural capacity we all have, but we’ve largely forgotten it.

 

Let’s start here. The world, physical reality, ordinary reality, society, civilization—in one sense they are all names for a hypnotic effect that is transmitted to the individual.

 

The transmission occurs in several ways: as images, as frequencies, as space itself. The underlying purpose is FAMILIARIZATION.

 

Familiarization causes a person to accept things as they are, which is really the substance of a light trance.

 

For a mundane example, consider driving to work on the same route every day. You’re so familiar with the process you sometimes blank out and come to, a few seconds later.

 

Well, life can be like that, too. The light trance is actually a droning interaction between mind, perception, and the “presentation of things as they are.”

 

Here is a quote from my late friend and colleague, hypnotherapist Jack True: “That-which-is, reality, has a somewhat numbing effect over time. It’s almost like holding a pendulum in front of a person. The pendulum gently swings back and forth, and the person becomes comfortable to the point of being suggestible. But when the pendulum is physical reality itself, the suggestion that is being delivered is: ‘this is life, this is all life is, this is the way it is, accept it more and more, accept it more deeply.’ The person begins to lose energy and vitality. It leaks away. The response to life becomes more automatic. You’re losing energy in the process…”

 

These energy exercises transcend the trance. They “crack the egg” of ordinary reality. They open up space. They wake up consciousness and cells of the body.

 

As a person does the exercises, he realizes he’s interacting with ordinary reality, but from a place of power. He’s not being transmitted to. He’s the “operator.” He’s pulling the switches.

 

This is a very interesting experience.

 

The trance breaks apart.

 

In many ways, subtle and overt, we’re being preached to. We’re being told we have a limited amount of energy. This is a fable, but there a consensus around accepting it as truth.

 

When people wake up to the lie of the fable, they feel better. When people experience new energies, they change many of their old attitudes. They approach life in a different way.

 

We’ve reduced ourselves, but the condition is not permanent. It can be cracked apart.

 

I began developing these energy exercises one day, when I was painting in my studio, and I realized I was projecting energy. I felt alive in a way that surprised and excited me. I felt layers of acceptance and “sleep” peel away and disappear, as if I had walked out of a cocoon. An old injury that had been nagging at me for years (to the point where I didn’t even notice it anymore) suddenly showed up like a fire in my arm and then burned off and vanished.

 

But more importantly, when I left the studio and went out on to the street, I noticed I had a new attitude. I wasn’t inhabiting normal reality anymore. I wasn’t in “neutral space.” Instead, I had power.

 

After that, I never lapsed back into the old sleep again.

 

It’s one thing to think about this. It another thing to feel it and know it.

 

On all levels, the world is moving toward weaker energy exchanges between people. It’s the individual who can reverse the tide.

 

The civilization we now live in has cast its lot with machines and technology. Projection of energy is thought of purely in those terms. However, this is yet another illusion. The idea that we can only reach across space by physical means is a cultural artifact. It is ingrained now. Waking up from it, to return to our natural power, requires a new attitude and point of view.

 

This adventure is bracing. It brings us many rewards, including the capacity to span space with our minds and the understanding that we can, in a real sense, be in two places at the same time.

 

This was the subject of the famous book, Zen in the Art of Archery. The archer could be holding the bow and be at the target simultaneously. In that case, space would change. It would become more flexible, more like an instant of time.

 

Space also becomes more theatrical, a living stage for the production of energy phenomena. And the individual can turn on and off those phenomena, as if he is holding a switch. Experiencing this is more real than real—you graduate into a mode of improvisation that is “you in action,” at a level that is exceeding natural and creative.

 

It all starts with working with energy, using it, inventing it, projecting it, moving out of the John Q Citizen apparatus of “the average and normal,” which is only a role played out in a neutral and dead setting. This is where most people are, polishing confined parts in an old play, thinking they are only this and nothing more.

 

They strive and hope for something better—but it’s all taking place inside scenes from a stage production called The Average. Instead, they need to step out beyond that space and take on the power they actually have…and then things change.

 

I am now developing exercises that, based on my present energy techniques, allow and initiate new roles and new parts in new plays in much wider spaces, utilizing more power. For these, we need live seminars for small groups…

 

I call it The Magic Theater. Metaphorically, it is connected to a locale in Hesse’s landmark novel, Steppenwolf, where the main character finds he can live out extraordinary situations and emerge from his restricted cocoon.

 

In our world, we attribute great power to detestable people, and we end up believing that is where power IS—whereas we are weaker, though righteous and moral. This whole dynamic is like a crystal, a structure that keeps us in one place. The crystal can be blown apart, and we can then discover and regain our own power, our own magic, and use it to live quite different lives, without interfering with the freedom of others.

 

People don’t grasp the fact that our societies and civilizations are built to create a rigid balance of forces and energies that, ultimately, crystallize and hold the status quo in place. They may see this on an intellectual level, but experientially, they lack the venue in which to work with the forces themselves and break them open, to start the free energies flowing again.

 

I want to provide such a venue. Fortunately, people like Hesse, JL Moreno, Fritz Perls, and going all the way back, the Tibetan magicians, have laid vital groundwork for a breakthrough.

 

Again, we need a group to take new steps on this road.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

BREAKING THE CHAIN OF CAUSE AND EFFECT

 

SEPTEMBER 1, 2011. Human beings tend to define themselves. They sum themselves up. They present themselves with a picture of what they are.

 

They may not do this with precision, but they do it. And the common factor is all about limitation because, after all, definitions involve drawing boundaries. Definitions describe what is inside those boundaries and exclude what’s outside. That’s limitation.

 

The most pervasive way this process is carried out is through making “the past” the great determinant of the present, as if the past is a series of links that, naturally, shape the ongoing Now.

 

“The past adds up to the present.”

 

Cause and effect.

 

It’s a nice neat package.

 

And if past history isn’t enough, people can resort to a vague idea of genetic determination. Or inherent and permanent IQ. Or the pressure exerted on them by their environment. More cause and effect.

 

Finally, you can add a cherry on the cake: open possibility for the future, if it exists at all, comes from the universe, or The Force, or the cosmos, squeezed out of a tube like toothpaste and passed to a person by the grace of a Something that responds to good behavior and patience…

 

The whole notion of cause and effect as a chain is a reality that is perceived at a certain level—and what breaks the chain is entering into a level where that rule doesn’t apply.

 

This higher level flows from creation. Your creation.

 

This is where creating and imagination and greater energy combine to produce new realities that exceed any attempt at definition.

 

This is where and how a life undergoes a great and unprecedented change.

 

Societies and civilizations operate within a context of cause and effect. They thrive, to the extent they do, on that principle. They promote the principle and educate according to it.

 

But societies and civilizations, sooner or later, abandon the individual in favor of the group. They explain this preference in many ways, just as a drug addict spools out his reasons for using drugs.

 

However, the individual can take action on a very different basis.

 

Imagination has nothing to do with conventional cause and effect. It isn’t interested in adhering to sequential time or “the one and only space.”

 

Because of this, people believe imagination doesn’t really fit into the world.

 

People are disposed to using imagination as if it were a cause-and-effect blueprint that mirrors physical reality. This is backwards. Imagination creates its own worlds and these worlds can be fashioned without such limits.

 

For instance, when you envision a future, you usually see it as if it’s already done, meaning you put “the final effect” first. Why not? Imagination is infinitely malleable.

 

Energy-imagination-creation is the jumping-off point from traditional cause-and-effect.

 

This is why, ultimately, philosophy takes a backseat to imagination. Philosophy is an attempt to sum up What Exists. Imagination creates new shapes that didn’t exist before.

 

Logic, which is an indispensable tool for grasping reality at the level of perceiving cause and effect, may state that A implies B, but imagination can say A implies Z or A implies B, Z, and Q.

 

Magic is what can be created outside the boundaries of conventional cause and effect.

 

Imagination is the gateway into magic.

 

If physical reality could send a message it would be, “Here I stand. I am a chain of cause and effect, and you are part of that chain.”

 

The individual says, “I create worlds beyond any such message.”

 

The individual can delete his own knowledge of what his imagination does, and this is what is meant by self-hypnosis. Self-hypnosis operates by inducing frequencies and vibrations that bring on amnesia. It’s a parlor trick that shrinks space.

 

In my e-book, The Secret Behind Secret Societies, I explore these issues. I wrote the book as a reversal of self-hypnosis.

 

What you imagine and create…you can then insert into the world, and even though the world may view that creation within its hypnotic context of cause and effect, that isn’t how it was produced by you.

 

We are talking about levels of perception here. On one level, everything is seen through the cause-and-effect lens. On another level, events are seen in a fashion that transcends any such linkage. This second level opens up physical reality and exposes it as a collection of “wholes.” Created wholes.

 

The physics of energy, space, and time works the territory of various limited types of causation, even when it is speculating about quantum events. Your imagination goes farther. Much farther.

 

Consider this whole business as a stage play, in which imagination creates reality…and then the human being WHO DID THE IMAGINING steps down his own perception and views what he did within a self-hypnotic space of cause and effect AND PRETENDS REALITY IS COMING FROM SOMEPLACE ELSE.

 

It’s a joke. A cosmic joke.

 

When you sleep at night, and dream, when the chains come loose for a little while, you are laughing at the punch line.

 

If you care to admit it.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gnmail.com

http://marketplace.mybigcommerce.com/products/The-Secret-Behind-SECRET-SOCIETIES%3A-Liberation-of-the-Planet-in-the-21st-Century-%28E%252dBook%29.html

 

 

 

CREATIVE WORK

 

AUGUST 31, 2011. When it comes to practical goals and what it takes to achieve them, there are basic strategies that operate well and productively. However, when the work involves bringing the creative impulse and imagination into the scene, the rules are not the same.

 

They aren’t the same, because you’re swimming in different waters. It’s not only a matter of focusing on the objective and the plan.

 

Now you’re talking about Desire, which is a large subject that involves hooking your future up to that North Star…and pretty soon what seemed like a simple enterprise includes more energies and dimensions.

 

For example: what DO you really desire? How big and wide and deep is that desire?

 

Writers and other artists often come upon this question. They find that what appeared, at first, as a clear picture takes on new aspects.

 

It’s as if you wanted to explore an iceberg. You’re looking at the part you can see above water…and then you become aware that the bulk of the object lies under the surface. Or you want to explore an ancient pyramid, and as you move into it, you find corridors and rooms initially hidden from view.

 

How do you proceed?

 

Well, it’s an ongoing process. As you attempt to create, in the world, the fulfillment and realization of the desire, you discover that a large part of that desire was obscured from view—and NOW COMES TO LIGHT ONLY BECAUSE YOU ARE IMAGINING AND CREATING.

 

It’s as if the desire was waiting for you to trigger your own imagination and creative power, and once you do, it exposes more of itself.

 

You were operating in a territory, so to speak, that was as big as a house, and now it’s as big as a city.

 

In my consulting work with clients, and in my audio seminars (The Transformations, for example), I deal with these creative issues. They are resolved, as the person begins to create more and as he begins to create with more power.

 

As a metaphor, consider the life and career of the Spanish architect, Gaudi. Once he began to gain commissions in the city of Barcelona, he was no longer simply designing apartment buildings. He embarked on a huge cathedral, and he created a magnificent serpentine bench at the top of the city…

 

In other words, he began to see more possibilities for his art, and he began to realize he could imagine and create with greater power and dimension.

 

In effect, his desire expanded from its original shape.

 

He was no longer just an architect working on strict orders from his clients.

 

He saw more of his own desire.

 

This is the road of magic. You begin where you begin, and as you create more and more, the territory and your power expand.

 

So does your energy.

 

The environment around you and within you changes. Your energy is having effects in new spaces. This isn’t something you can measure with a meter. It isn’t something you can get a grip on by merely “taking a scientific attitude.”

 

This is a different world.

 

You see that energy and matter and, in fact, the whole continuum we tend to cherish and accept as the totality of existence, is only a piece of something much, much larger.

 

You don’t just think about this. You experience it.

 

You discover that every picture of reality, from the sub-atomic all the way to the cosmic and the metaphysical, is “waiting,” just as your desire is waiting, for you to undertake creative work—at which point, the whole notion of reality “surrenders” to your larger imagination and energy.

 

It’s not a closed system at all. It’s entirely open.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

http://marketplace.mybigcommerce.com/products/The-Transformations-%283-CDs-3.75-hrs%29-b-Jon-Rappoport.html

 

THE CREATIVE RESPONSE

 

AUGUST 22, 2011. There is obviously a difference between fitting in and launching independent creative action.

 

The “normal” thing to do is fit in.

 

Millions of times in our history, leaders have set the goal of a new enterprise, and then, even though the idea was insane, ludicrous, self-defeating, boring, dreary, and prosaic, followers have jumped on board. They figured out how to play their parts.

 

But exiting this scene and taking individual creative action, in another direction, seems out of the question. It is unsupported, there is no precedent for it, there are no tight rules to follow, there is no checklist to consult, there is no manual, and who knows where it will lead?

 

Actually, these are all positive virtues, but people generally don’t see it that way.

 

People would prefer to discuss, share, criticize, carp, gossip, advise, meddle, remember, and negotiate. This they know. This is familiar. This makes a weird kind of sense to them. This is life.

 

It roils, broils, simmers, stews, and ends up in mush. But acceptable mush.

 

Independent creation action implies power, and who wants to admit to that? Who wants to launch from that center? Who wants to say that all the little gods and idols and traditions and conventions and fond remembrances are beside the point?

 

People live their lives building up layers and shapes of encrusted energies like barnacles, and they imagine that, were they to advance and project one original impulse out into the world, this whole “personal structure” would vanish. And this, to them, is unacceptable.

 

Of course, the vanishing wouldn’t happen. That’s a fantasy. The structure would actually turn into flowing energy and it would be co-opted into the service of a new kind of life. A creative life.

 

Every society and civilization has eventually run into a morass and dead-ended because the creative life has been rejected in favor of a calculated average—at which point, you can propose or impose any sort of system or political configuration and it doesn’t really matter. The deal has been made under the table. Average is the standard and the guideline. Humility is morality. When push comes to shove, self-deprecation is the flag that goes up the pole.

 

“I want to thank all those people, without whose support I wouldn’t be here tonight. My life wouldn’t exist except for the contribution they have made. I only hope that, in my own lack of an independent existence, I can pass along to someone else a fraction of what has been given to me…”

 

Seventeen years ago, when I was running for a seat in Congress from the 29^th District, in Los Angeles, I attended a political club gathering, in West LA, to give a short speech, to drum up a few votes. The event was sparsely attended, by seniors. The most live person in the room was a guy who was perhaps 200 pounds overweight, and he was ponderously stalking the food table, picking and choosing from the selection of cookies on paper plates. Everyone else was deep into tranquilized narcosis in their folding chairs.

 

It was at that point I decided to go a different road. I would run (not for office) on a platform of power and creative action—for the individual. Period.

 

From one angle, it wasn’t the smartest move. But to me, it was the best thing to do. And it was interesting.

 

It still is.

 

Imagination.

 

Energy.

 

Projection.

 

Power.

 

Creation.

 

Invention.

 

Improvisation.

 

Magic.

 

Now we’re talking about something.

 

Mainly, we’re talking about new worlds. Without end.

 

Otherwise, it’s all reruns.

 

Jon Rappoport

www.nomorefakenews.com

 

 

 

 

 

 

 

 

 

THE UNIVERSE REFLECTS ENERGY

 

AUGUST 21, 2011. When we see pictures of deep space, or when astronauts view it from their craft, the energies at work out there are inspiring.

 

Why?

 

What makes us engage with it? Why don’t we yawn with boredom?

 

Ultimately, because it’s a reflection of our own potential. In particular, it reminds us, if only subconsciously, that we have the power to produce energy phenomena on a grand scale.

 

In the same way, when we watch certain movies in dark theaters, we engage with them by creating the massive energies suggested by the images on the screen. If we didn’t supply that emotional/energetic impact, the movies would fall apart.

 

If a hero is leaping across a wide chasm with superhuman ability, we’re there, doing it, too.

 

In other words, we’re imagining that energy. Of course, by societal norms, the fact that we’re imagining it cancels out its reality. “It’s just fantasy, nothing happening, move along, not important.”

 

Nothing could be further from the truth.

 

We possess this capacity to imagine great energy and space because we create energy and space—and if we stopped long enough to understand what that means, we would see there is an avenue from the normal to the paranormal.

 

When the ancients saw their own power reflected back at them by the universe, they invented gods. That was their curious response. They imbued these gods with the potential powers they themselves had buried deep in their own subconscious.

 

When a person flies a plane capable of smashing the sound barrier, he’s not really bowing down to the plane. He’s connecting with the same kind of power in himself. If he weren’t, that plane would never have been invented in the first place. These machines are an outward expression of what we have.

 

What we’ve developed amnesia about is our capacity to create these energies directly, without technology. And it’s time to re-engage on that level.

 

Of course, tons of propaganda have been sent down the pipeline at us, in order to convince us that power=abuse, that power always equals criminal abuse in all times and places. The “best and the brightest” have been arguing from this position for a very long time. Well, they can afford to. They already have positions of societal power, and they want to protect those little thrones.

 

I am talking about something completely different: the inherent individual power to project great energy—with all its implications.

 

One of which, by the way, is enhanced health. The cells of the body are essentially paranormal to begin with. That is, their receptors are looking for an influx of energy created by the YOU inhabiting that body. And when it comes, they respond with elation, and they move into wider levels of action and vibration.

 

In these articles I’ve been writing lately about energy, I’m bringing to the surface something we instinctively know: we create, transmit, and project energy. We can do that. We can do it within the confines of small boring spaces, or we can do on a much greater scale.

 

Once we do it and experience it in larger spaces, life changes. It isn’t the same anymore. It doesn’t retain its routine hemmed-in quality. It’s the difference between sending a rocket from New York to New Jersey and sending it to Orion.

 

But it’s personal. It’s you doing it. You, projecting the energy.

 

Physicists and biologists, if they were interested, would try to explain it in their terms, and they would utterly fail.

 

You aren’t projecting brainwaves or photons. Your energy is just that: ENERGY. It’s more basic than anything moving on its own around the universe.

 

It’s time to come to terms with this. It lifts life to a new level, a level we’ve desired for a long time.

 

We’re paranormal. We were never normal; that’s just a cover story.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

JON RAPPOPORT DESCRIBES HIS CONSULTING

 

Imagination envisions new realities. That’s the starting point.

 

After that, we come to the fact that, with sufficient deployment of imagination, a person then looks at his own steady-state reality and realizes it is provisional, subject to change.

 

His chronic reality isn’t as solid and final as he thought it was.

 

This new understanding isn’t just an intellectual speculation. It’s based on experience.

 

In my consulting work with private clients, I conduct imagination exercises to bring about this experience.

 

You could look at it this way: if you want to build up your body, you go to the gym and work out. Most people never think of “going to the imagination gym.” They don’t work on developing this vital and fantastic capacity, this imagination. They let it remain in the background of their lives.

 

Your imagination contains power that is stunning. It’s a shame to let it go to waste.

 

My clue about imagination comes from my work as an artist over the last 50 years, my friendship with a man I believe was the most innovative hypnotherapist of his time, Jack True, and my study of the ancient practices of Tibetan magicians.

 

In Tibet, once upon a time, it was understood that imagination was the key to enlightenment. This was front and center in their spiritual practices and exercises. Their “gym” was intense. It was the core of their commitment.

 

There are several levels or types of reality. One is what you see around you every day, and what you discover online or on television. Another is your own interior reality, which is less defined, but which exerts a powerful influence on the way you deal with people, relationships, situations, goals, work, and future. A third reality is what you can envision, based on what you truly desire. Some people have only a vague notion about this third level.

 

It turns out that all three types of reality are subject to change.

 

In my work with clients, I approach imagination as the key that unlocks all the doors.

 

I also know that people tend to wonder how they can really USE imagination. It’s not clear to them. They need lots of experience using it. That’s why I spent a lot of years inventing and developing imagination exercises. If you want to understand a tool, an instrument, you need to employ it. You need to employ it extensively.

 

That’s what happens in my phone sessions with private clients.

 

My first client, 30 years ago, was a man who described himself as “an engineer with vague pretensions of being an inventor.” He worked for a large corporation in Southern California. He wanted to make a breakthrough and invent…he didn’t know what and he didn’t know how.

 

So I told him we would have a number of sessions and I would lead him through imagination techniques that could help him.

 

Three months later, he was telling me his marriage had improved to a fantastic degree. That was completely unexpected. That was the first big change. It wasn’t immediately apparent how these techniques had brought about the change.

 

But soon he told me. He said he realized he had been looking at his marriage through “a certain kind of lens,” and that lens was HIS OWN INVENTION. He saw this. It was quite vivid to him. Long ago, he had constructed the lens, and by seeing everything in his marriage through it, he was gradually destroying the best relationship in his life.

 

And now there was no need for that. He began seeing his wife as he had when they’d first met. When they’d fallen in love.

 

As he and I continued to work, he started making sketches of several inventions he was imagining, and those sketches became drawings and plans and blueprints, and finally, prototypes. One of them, a year later, was his ticket out of the job he didn’t want any longer.

 

On the day he quit the job, he wrote me a note: “When I was a young man, I came to California because I felt the pull of great energy in the Space program. I was thrilled to enter the scene. It was my great goal to be a part of the effort. Now I realize that was, on my side of things, all about the power of imagination. I was imagining a future so intense and adventurous. And then, as time went by, I let it slip away. I allowed myself to become ground down in the politics, the cynicism, the bureaucracy. Now I’ve got it back. I’m so much more conscious this time around. I’m not going to let it slip away again. But even more, I know my imagination is a key to levels of consciousness I hadn’t dreamed existed. That’s the biggest thing…”

 

His letter sums up so much of what we go through in life. It starts out high, wide, and handsome, with tremendous energy and purpose, but then, gradually, the vision fades and the emotion loses some of its power. We settle for less. We make “adjustments.” We think of this as “being realistic.”

 

But the dream of the vision and its fulfillment never really goes away. Some part of us remains on alert for the opportunity to start over, with more wisdom, but with that same boundless and open enthusiasm.

 

That’s where imagination comes in, because that’s where the enthusiasm lives.

 

We can get it back, and more, if we start by realizing imagination has never vanished. It’s a potential energy, and it needs to be tapped into.

 

I’ve been through lots of ups and downs, and I’ve always come out the other side, because I know, in my bones, that ordinary repetitive reality is just a prelude to the main event—which is created through and by imagination at full bore.

 

Will wonders ever cease?

 

No, they won’t, if we give them a solid chance.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com