The Case for Christmas from Eyewitness Accounts
The Case for Christmas from Early Accounts
Was Jesus Really Born of a Virgin? – Lee Strobel
The Case for Christmas from Historical Records
SIDE NOTE: Speaking to NME, she recalls the chilling incident: “It came from one of my fans. He said if I wasn’t his then I would be no one’s and he would come and take me. I’m kind of scared he’s gonna make me into a lamp.”
It’s just one revelation shared by the outrageous singer in the latest issue of NME, out today (October 31).
Elsewhere, Ke$ha claims she drank blood from a human heart on stage in Sidney. That was real,” she says. “I did it on stage in Sydney. I think I was hanging out with Alice Cooper too much. I was just really inspired to do it. There wasn’t a very good reason behind it.”
MOVE over Ozzy Osbourne, there’s a new blood-sucking shock jock in town and her name is Ke$ha.
But unlike the Prince of Darkness, the 24-year-old Californian hasn’t sunk her teeth into a live animal – yet.
While she’s known for her trashy on-stage antics and expletive-laden monologues, the Tik Tok singer still managed to shock punters at Sydney’s Future Music Festival at the weekend when she drank blood from a heart – to the song Cannibal, of course.
The potty-mouthed pop princess held the heart like a goon bag over her mouth, letting the blood ooze across her face and down her chest on the main stage at Royal Randwick Racecourse.
Covered in glitter and draped in a shredded American flag T-shirt, Kesha Rose Sebert performed much of her 45-minute set dripping in blood.
Ke$ha’s publicist did not return calls yesterday, but the pop star is no stranger to Lady Gaga-style shock and awe on-stage antics.
Her high energy live shows, loaded with as much sexual innuendo as her song lyrics, are inspired by pop predecessors Madonna and Britney Spears and feature six-foot penis costumes, revealing rhinestone-coated outfits and lots of glitter.
Ke$ha’s “Die Young” is probably one of the most blatant Illuminati videos ever released. While the symbolism is so overt that it is almost ridiculous, there’s an underlying message to the video: Even if you’re dumb enough to embrace all of that Illuminati brainwash, you’re still not part of the elite and therefore, still subject to “Die Young”.
Ke-dollarsign-ha has never been the most inspirational singer around. She started her career as an alcoholic party girl that’s not too strict about personal hygiene (see the Tik Tok line “Before I leave brush ma teeth with a bottle of Jack”) and, for her new album, she turned into some kind of Illuminati witch-type deal. She is far from the only pop star that has gone through this kind of metamorphosis and it was probably pre-planned by her record label. How many singers have gone from an “around-the-way” girl to an Illuminati figurehead? That’s what the industry does.
To the untrained eye this kind of transformation is usually somewhat subtle … Ke$ha’s Die Youngis anything but. In fact, it is one giant clusterfreak of Illuminati symbols. It is so obvious and in-your-face that it forced mainstream music sources such as Billboard.com to “admit” that the video was all about Illuminati symbols (see their article entitled Ke$ha Shouts-Out Illuminati in ‘Die Young’ Video). Interestingly enough, not too long ago, these same sites were calling sites like Vigilant Citizen “batshit crazy” for even alluding to the existence of these symbols and describing their meaning. Now these sites say “Yeah, there are Illuminati symbols” in a matter-of-fact way. What happened to the batshit crazy part? However, the mainstream sites still only refer to this concept in an extremely superficial way, not giving any insight on their true meaning and the real Agenda behind it all.
Some might rationalize what is happening by saying: “Ke$ha did it for the LOLs and to make fun of the conspiracies”. This is plausible, but this argument is now surfacing every time a video contains Illuminati symbolism. Are all videos now making fun of conspiracies? In reality, Ke$ha didn’t do anything for any LOLs. She did not direct the video. She is just performing what she is told to perform, like most pop stars. The fact of the matter is: Illuminati symbols are becoming more prevalent because that was the plan all along: To gradually make them part of popular culture. The occult elite is revealing itself and the masses are dancing to their tunes.
The real issue at stake is however not the symbols that are flashed on screen, but the underlying messages that are communicated to the viewers. It is about the Agenda – about making specific values and attitudes cool and desirable to young people. It is about promoting the culture of death (i.e. Die Young), about sexualizing everything, about materialism, about a corrupted and debased brand of spirituality and so forth.
As I watch Ke$ha and her gang fondling themselves, I can’t help but wonder: Is the video making fun of the masses that have been brainwashed by the lifestyle promoted by the elite? Let’s look at the video.
The video takes place in Mexico, where Ke$ha and a bunch of cult followers arrive at a cabin. We quickly realize that the group arriving literally worships death.
As the car door opens, a Skull and Bones symbols flashes, representing the cult of death emanating from this car.
Skull and Bones is also the name of Yale’s elite secret society, which includes members such as George Bush Sr., George Dubya and John Kerry.
Is “Evil” written on the side of the car?
The car is, in fact, a hearse – these big black cars used to carry dead people. So, yeah, there’s definitely some death-worshiping going on here.
When the hearse is opens, we see Ke$ha in a black veil, posing as if she was some sort of sexual religious statue. She is then carried on the shoulders of her gang of mimbos, as in cultures where people carry statues of the Virgin Mary on the streets.
While this is happening, a bunch of symbols are flashed on the screen. Vigilant Citizen readers probably instantly recognized them.
Ke$ha wearing an All-Seeing Eye ring while hiding one eye. Just making sure you understand who she is working for.
Inverted crosses (a symbol of the Church of Satan) flash about five thousand times during the video. They’re working very hard to make that Satanic crap trendy.
In another scene, Ke$ha and her gang play at pulling tarot cards (to determine who’s the sacrificial lamb of the night?). Ke$ha pulls the “Devil” card and everybody bursts into laughter. So much fun is to be had with Satanic symbols!
Looking at the way Ke$ha’s gang acts, the only word that comes to mind to describe them is “not too bright”. What is the first thing they do when they enter the cabin they drove so far to reach? They trash it. I realize that trashing things is a cool, rock star thing to do, but even drunk rock stars know to trash a place when they LEAVE, not when arrive and actually NEED a facility.
“This place is too nice. Let’s destroy it and then have sex on broken furniture. Yeah, we’re idiots”.
After mindlessly wrecking the place, there is one thing left to do: Mindlessly dance to a generic pop song. Of course, the dancing quickly turns into an orgy, all of which happens with a bunch of occult symbols all around.
Ke$ha sits a the throne of the “orgy”, under a pentacle. While this symbol is not associated with Satanism, it is used in occult rituals, hinting that there’s a Sex-Magick aspect behind all of this.
While this is happening, Ke$ha does the one-eye sign, a way of saying that this sex and death worshiping cult that is full of suggestible idiots (representing the masses) is sponsored by the Illuminati industry.
…the video is also apparently also sponsored by the new Windows Phone thingie. Do like Ke-dollarsign-ha and buy it now! She then sends a text message to “Animals”, which is the name given to Ke$ha fans. Animals. Almost as flattering as Little Monsters.
Throughout the video, symbols are flashed on screen, mainly triangles that are either upright or reversed. In esoteric symbolism, upright triangles represent the masculine principle while reverse triangles represent the feminine principle. The combination of both represents the union of opposites and, in more “human” terms, sexual intercourse. So, while people are frolicking in the video, symbols convey the concept of Sex Magick on an almost subconscious level.
In case all of the stuff happening on screen is not enough to make you understand young viewers that sex is happening there, shots of wolves doing it might light a bulb above their heads. Also, is that a way to give a “shout-out” to bestiality – one of the “guilty pleasures” of the sick Illuminati elite?
The orgy goes on until cops arrive and start shooting. When this happens, Ke$ha walks decidedly towards the armed cops.
Even if you’re dumb enough to be brainwashed by Illuminati propaganda (to the point of having an Illuminati symbol right on your ass), you are not exempt from police state oppression. You might be doing what the elite wants you to do, but that doesn’t mean you’re part of it.
Just making sure you understand who’s sponsoring this video.
Since the song is called Die Young, we are lead to think that Ke$ha is shot and killed by the police.Die Young is therefore yet another video that depicts police state oppression and violence as normal, even cool. The moral of the story? Even if you have been thoroughly brainwashed by Illuminati propaganda and have lived your life according to the debased culture promoted by mass media, you are still a disposable pawn according to the elite. You might believe you are a “rebel” going against “The Man” but you’re actually playing right in their hands. Far from being “enlightened”, these symbols and this way of life are conceived and manufactured by the elite to dumb-down the masses, in order to make them suggestible and manipulable.
The culture of death that is now prevalent in mass media is extremely present in this song. The phrase “We’re gonna die young” is repeated countless times (in a upbeat matter) as if to drill in teenager’s skulls that human life is not valuable. This is right on par with the elite’s depopulation Agenda.
Readers of this site might be realizing that the symbolism that has been pointed out for years is becoming increasingly prevalent and obvious in mass media. The process is gradual yet very noticeable and the concept of Revelation of the Hierarchy is in full force in the entertainment business. It has been said that the best way of hiding something is in plain sight. The Illuminati symbolism we see in popular culture is becoming so prevalent that it is BECOMING popular culture. While some might claim that “it’s a trend” or that “Ke$ha is making fun of it”, they don’t see the important reversal is happening here: Trends used to come from the streets to then be picked up and reflected by mass media; Nowadays, trends are CREATED by mass media and forced on the world through repetition and omnipresence.
There is however more at stake here than simply the presence of symbols in music videos. There are tons of videos with the same message and symbolism as Die Young – all promoting the same Agenda. Brainwashed by thousands of hours of music videos, young people become like the cult followers in Ke$ha’s video, pushed to live pointless, self-destructive lives based on the gratification of their lowest impulses. Indulging in one’s animalistic instincts has always been considered to be the opposite of reaching spiritual enlightenment – and that’s exactly what the elite wants. If the masses were to gain enough awareness to avoid the traps and pitfalls set up by the system, the virtual enslavement caused by debt and mass-media mind control would crumble.
The way of life “glamorized” by the elite causes people to be lost, devoid of strong values and suggestible to mass-media propaganda. However, in the end, even if they do exactly what is expected from them, the masses are still perceived by the elite as a brainless cattle that needs to be put in its place by a strong police force. As Ke$ha and her fans mindless yell “we’re gonna die young”, thinking they are cool and edgy, they actually unknowingly celebrate their own servitude to a tune created by their rulers. Go Animals!
The intro of the video shows Gaga as the patient of some kind of psychiatric ward. While laying on a stretcher that is pushed by two nurses, Gaga describes the way she perceives reality. Affected by a violent trauma, Gaga escapes into her own world to be able to go on. The mental dissociation that is described by Gaga is in direct accordance with the purpose of trauma-based mind control, the basis of Monarch Programming (see the article Origins and Techniques of Monarch Mind Control for more information). Monarch programming uses various methods, including violence, drugs and abuse to induce violent trauma and cause the victim to dissociate – a natural defense mechanism of the brain. The fracture of the personality that results from the process is then exploited by the mind-control handlers to program within the subject’s mind new “alter” personalities. This is also described in Marry the Night, as Gaga creates a new persona to obtain superstardom.
The process also causes the victims to have huge memory gaps when recollecting the past. In during the intro of the video, Gaga describes how a victim of Monarch programming would perceive reality:
“When I look back on my life, it’s not that I don’t want to see things exactly as they happen, it’s just that I prefer to remember them in an artistic way. And truthfully, the lie of it all is much more honest, because I invented it. Clinical psychologyarguably tells us that trauma is the ultimate killer. Memories are not recycled like atoms and particles in quantum physics. They can be lost forever. It sort of like my past is an unfinished painting and, as the artist of that painting, I must fill in all the ugly holes and make it beautiful again. Its not that I’ve been dishonest, it’s just that I loathe reality.”
Gaga basically says that she went through trauma that was so horrific that it caused her to dissociate from reality. Since she cannot cope with the true nature of her existence, her psyche has “filled in all the ugly holes” and created an inner-world where she can escape and survive mentally. This is exactly what happens with MK slaves, who, while dissociated into their fantasy world, get programmed by their handlers. Gaga then proceeds to describe how her dissociated mind perceives her surroundings.
The nurses wear their caps in a “stylish” way because we are seeing Gaga’s dissociated perception of reality
In Gaga’s reality, the nurses are wearing “next season Calvin Klein” and she is wearing Giuseppe Zanotti shoes. Also, the nurses’ caps are tilted to the side like Parisian berets because she thinks “it’s romantic”. So what we are seeing is not reality, but Gaga’s perception of reality that has been distorted by trauma. Since she loves fashion, the fashion world is integrated in her mental escape to make reality bearable. The premise of this scene is very similar to the movie Sucker Punch (analyzed in the article entitled “Sucker Punch” or How to Make Monarch Mind Control Sexy), where a young patient of a psychiatric hospital dissociates from reality before getting a lobotomy.
Lobotomies also appear to be happening in Gaga’s ward. As she arrives in her room, we notice that it is filled with brain-dead girls with bandages around their heads. This hints that Gaga’s “institution” deals with mind control-related stuff.
On her bed, Gaga speaks with a nurse – who also happened to have delivered her when she was born. This is rather odd (for many reasons) but confirms that Gaga’s existence has been under tight control since her youth. Is this bit part “autobiographical” or fiction? Hard to say.
Something happened to her back
When Gaga turns around, her back reveals that something awful happened to her. The nurse tells her “No intimacy for two weeks”, which hints to the fact that the trauma might of been of a sexual origin. She nevertheless tells the nurse that “she’ll make it” and that “she’ll be a star” because she has “nothing left to lose”. In other words, the trauma she suffered left her lost and empty but that hole can be filled by her two obsessions: fame and success.
After the depressing hospital scene, Gaga is in her apartment when she gets a phone call from her manager announcing that she’s been dropped by her label. She replies “But I’m an artist!”, as if artistic integrity is the top priority of record labels. She then loses it and goes into a topless frenzy involving Cheerios and smudged makeup. The messy scene is juxtaposed with images of Gaga gracefully dancing ballet – as a “true artist”. The two scenes are diametrically opposed yet have noticeable similarities. The ballet scene ends with Gaga topless and crying, indicating that both scenes happen at the same time: One in real life and one in her head.
Gaga topless and crying, like in the apartment scene. This represents how Gaga perceives herself, yet she is rejected by her label.
In the next scene, Gaga is in the the tub, accomplishing a significant task: Dying her hair blonde. Her new alter-persona is being created, the one that will become a pop star.
The transformation from Stefani Germanotta to the alter Lady Gaga symbolized by the dying of her hair blonde. She is beginning to do what is needed to make it in the entertainment industry – A shallow alter-ego that will do what is required by record labels. While she’s doing this, she’s humming “Marry the Night”, something she is actually beginning to accomplish here.
Once the transformation is complete, Gaga says goodbye to her ballet company (were they the ones that were lobotomized earlier?). The “true artist” is gone and the superficial diva is born. The camera stays on the art of the room for several seconds, probably due to its symbolic meaning. (the scene was shot at Snug Harbor Cultural Center in NY).
As the camera pans, we see several interesting things. At the top of this shot is Poseidon, the king of Atlantis with his trademark pitchfork. Although he was probably painted there because the shooting location is a harbor (a nautical place), the god takes another meaning in the context of the video: Poseidon is an important figure in the occult elite’s mythology as he is the king of Atlantis, the place where the Mysteries have originated from. Under Poseidon is a lighted star similar to the Blazing star found in Masonic lodges. Underneath the star is written “The Cross is My Anchor” – a Christian saying – but in reverse. I am pretty that the phrase is not actually written in reverse in Snug Harbor. Why was the image flipped? Does this represent Gaga’s spiritual shift as she “Marries the Night”?
The camera then pans to the room’s oculus (a circular window at the apex of a dome) with a sun as the pupil of the “eye”. The oculus transitions into a full moon. As the scene turns from day to night, Stefani disappears and Lady Gaga emerges.
Most music sites say that Marry the Night is about going out, partying and having fun in New York city. But, as it is often the case with Gaga’s works, the symbolism and the imagery of the video hints at a deeper, more ritualistic meaning. As we have seen above, Gaga is passionately fueled by her drive for success and she appears to realize that the key to make it in the industry is: Initiation. Or, in more sinister terms, selling one’s soul.
In the context of the video, the expression “marry the night“ takes an almost metaphysical connotation. Marriage is a religious ritual, a binding association between two people. What does it mean when one marries the night? It can mean associating with people who deal in the dark: the occult elite (those we call the Illuminati). It can also signify embracing one’s own flaws and “dark side”. In all cases, there is a definite sense of “rebirth” in the process. And, that’s what we see: A blond Lady Gaga (the alter of Stefani Germanotta) emerges from a Trans-Am dressed in black.
Gaga then goes to “Pop Star Training”. No more ballet, it’s all about doing cool, hip, music video choreography now.
“Yeah, that’s how you need to dance if you want to be on MTV. Go back there and keep doing it”.
Once her training is complete, Gaga is ready for the “big time”. She becomes a glamorous diva and dances what is almost a parody of MTV music videos.
With her cool shades and fashionable backup dancers, Gaga now has what it takes to be a product of the music industry.
We are then treated to a video montage of Gaga living the highs and lows of stardom, complete with gigantic hats, bathroom stall door slamming action and emotionally instability. However, all of this crap pays off: Gaga gets signed to record label.
When you “Marry the Night” (or sell your soul), the doors of the music business magically open. Gaga gets an appointment with Interscope Records.
The video ends with an odd and ominous scene:
In this fiery scene Gaga is dressed in red – the color symbolic of sacrifice and initiation. She is wearing a Paco Rabane hat that is fashionable and symbolic: it completely hides her head. It is owned by the Night now.
Gaga’s live performance on X Factor also exploited the theme of headless-ness in a rather graphic way.
The setting of Gaga’s performance on X Factor emphasizes on the underlying occult meaning of the song. The full moon, the torches and the religious imagery play on the spiritual significance of “marrying the night”. Gaga began the song with her head literally chopped off, a perfect way to describe what figuratively happens to industry pawns.
Although many describe Marry the Night as a “new direction” for Lady Gaga, the video still exploits her favorite theme: The price of fame. The intro of the video is basically a introductory course in trauma-based mind control, where she describes how dissociating allows her to cope with reality. As the artistic brunette turns into a blonde diva, the Lady Gaga alter-ego is created, one that will do what is required to make it in the music business. The most important requirement is “marrying the night”, which is a poetic way of saying “selling one’s soul” and associating with the dark side. Gaga had to deny everything she previously was to become a brand new person. Therefore, beneath the fashion and the dancing, the video hides an underlying ritualistic theme, as the death of a ballet dancer gives birth to an MTV pop star. From the broken girl who had nothing to lose to international superstar, it took a marriage with the dark side to turn things around. But at what cost? The final scene of the video, complete with hellish fire and a sacrificial red dress tells volumes.
In the grand scheme of things, despite her apparent originality, Gaga brings to the youth a message that is very similar to other pop stars: “Mind control is cool, everyone is doing it” and “Submit to the dark side and you’ll get what you want”. But when things get scary and the night becomes an abusive husband, asking for divorce won’t be an option. Ask Princess Diana.
Bad Romance is the first single out of Gaga’s Fame Monster album. If you look back at her past works, the main message of her music is that she is willing to do anything, even sacrifice herself, to obtain fame. The video continues in the same vein by depicting Gaga as a willing victim in the music industry’s shady inner-workings. She wants to live a Bad Romance with the abusive, cruel and satanic music industry. She’s aware of all of its flaws but she still desires to be part of it more than anything else. She is a Fame Monster…she feeds off of fame…she enjoys being famous…if she is not famous, she’ll die or something…you get the picture. At face value, the song lyrics seem to be about her wanting to get “banged” by a kind of psychopath, but the video reveals that the psychopath is in fact the music industry.
The song starts with a weird chant that goes
Want your bad romance
This is the type of senseless crap drunk people like to yell in those disco dance parties you crazy kids go to. Is there a deeper meaning to it? Gaga announces it in a weird, gothic accent, in the manner of a ceremonial/incantation, a little like the “Bum-bum-bedum” of Rihanna’s Disturbia(article here). Ra, as the name of the ancient Egyptian sun god, is still of great importance in today’s occultism (see the “Eye of Ra”, the All-Seeing Eye). Roma may be a reference to the roman catholic church, but I’m not sure. This could be interpreted in many ways so I won’t linger on it.
I want your ugly
I want your disease
I want your everything
As long as it’s free
I want your love
(Love-love-love I want your love)
I want your drama
The touch of your hand
I want your leather-studded kiss in the sand
I want your love
I want your love
(Love-love-love I want your love)
Right away, it is obvious that the love that Gaga is seeking is wrong and sick. She’s a sex slave and apparently, she likes it. She knows that the industry is ugly but she still wants in. There is an obvious sense of sadomasochism, as she seems to know that this love (of success in the music industry) will hurt her and treat her badly, but she’s up for it. As we will examine in the video, there is also a spiritual meaning to the lyrics where fame equals submitting to the dark, satanic side of the music industry. In other words, the song is also about submitting to evil and the imagery of the video corroborates this fact.
I want your horror
I want your design
‘Cause you’re a criminal
As long as your mine
I want your love
(Love-love-love I want your love-uuhh)
I want your psycho
Your vertigo stick
Want you in my rear window
Baby you’re sick
I want your love
I want your love
(Love-love-love I want your love)
Here again, there is a mix of the “horror” of evil with hardcore sex references, which convey the fact that she wants to be “penetrated” by this evil influence in order to gain its favors. There are references to Hitchcock movies (Psycho, Vertigo) that are cleverly turned into sexually explicit lyrics.
During the bridge, Gaga sings emotionally “I don’t wanna be friends“. She does not want to be an outsider of the music industry, she wants to be part of it. Later she says “I want your love and, All your lovers’ revenge”, which means that she wants all of the attention of the music industry to the point that she also wants the “hate” of the artists who are jealous of her.
Of course, the lyrics are open to interpretation but the visuals of the video really give a particular meaning to the words. Gaga is not singing to a person, but to a group, an entity, an organization. She is singing to the Illuminati, to the music industry, to Baphomet: to the ones that have the power to make her famous. She wants to be part of that sinister and corrupt system and write aBad Romance with it.
The video is dense with symbols and odd images. Some are significant while others seem to be random. It is obvious that the whole concept is a huge allegory for the reality of fame. She plays the role of a mind-controlled and drugged sex slave who is prepared to get auctioned to members of the Russian mafia. Here’s the video.
The video starts with Gaga emerging from what looks like a high-tech coffin or maybe a sensory deprivation tank.
At the beginning of the video, she is deprived of her senses. Either her eyes, her ears or her nose are covered. Sensory deprivation is a torture technique used on prisoners or mind controlled slaves in order to “break” them and to facilitate their re-education. She is a beginner, an amateur and she doesn’t really know what she’s doing.
In one scene, she is wearing thick sunglasses and talking to herself through a mirror.
This is reminiscent of The Who’s Tommy movie, where a deaf, dumb and blind boy only becomes responsive when staring at the mirror.
Gaga then bathes herself to “wash off her sins” as Gaga said in an interview about the video. She is “wide-eyed” and innocent but we’ll see that she’ll gradually turn into a “Fame Monster”.
She is then roughly handled by two women. She fights them but she finally accepts her fate and even raises her hands in praise.
Throughout the video, there is a back and forth between her being forced to go through with her duties as a slave and her willingness to go through with them. She is then forced to drink some vodka, which is in fact an MTV-friendly substitute for drugs. Mind controlled sex slaves are heavily drugged to numb their thoughts and make them easy to manipulate.
Gaga is then undressed and forced to perform in front of a bunch of men. Those mafioso can represent the Illuminati, the dark force ruling the music industry. The masks represent their hidden nature. Each individual represents a record company, and they are bidding to see who will sign her.
Gaga seems to be well aware of what is happening and she chooses to charm a particular guy, who seems to have what she wants. The masked man seems to enjoy what is happening to him and bids to obtain her.
Gaga is then required to fulfill her duties as a sex slave by…you’ve guessed it… having sex with the winning bidder. So she proceeds into a very symbolic room.
On each side of the bed are gazelle heads, who symbolically refer to Baphomet, the horned idol of Western occultism.
If you’ve read my other articles on the music industry, you already know of the frequent use of the likeness of Baphomet in music videos and pictures. My past articles on Gaga have shown her posing in the same way as the image above. Strategically placed horned heads have appeared in her past videos and photo shoots. Having said that, the presence of those horned heads in that room is not merely decorative, it is very symbolic.
Gaga is “offering herself” at the altar of Baphomet in order to become initiated and accepted into the Order. She does not want “to be friends” with the music industry, she wants to be an insider (she’s not a “Fame Monster” for nothing). So this offering gets consumed by fire, and not sex, because it is about Baphomet and not the Russian guy. He was just a means for her to obtain what she wanted..fame.
When the fire starts, another scene plays simultaneously showing Gaga and masked dancers dressed in red, the color of sacrifice and initiation. The virginal white garments she wore during most of the video are replaced by bloody red, a visual confirmation of the fact that she is now initiated and accepted as an insider. In my article on the 2009 VMA awards (article here), we see that Lady Gaga and Taylor Swift start out the show wearing white garments and, after a symbolic performance, they appear completely dressed in red. The codes of the music industry seem to be used over and over again, in videos, award shows and photo shoots.
Gaga then makes her trademark “Eye in the triangle” hand gesture after her initiation to make it clear who owns her now…the Illuminati.
The final scene shows Gaga lying in bed with the burned skeleton of the Russian mafiosi.
Notice how everything is burnt except the two gazelle heads. The real “intercourse” happened between Gaga and Baphomet. The guy was a tool, a middle-man who was sacrificed in the process of Gaga’s initiation.
So Gaga basically went through the steps a mega-pop star has to go through in order to “make it big” in the music industry. She ultimately got what she wanted and apparently played the game on her own terms. Let’s see how that works out for her.
Aside from the main storyline, the video is riddled with numerous symbols and images which are occult in nature. Here are some of them:
There are many symbols referring to the sun in the video. As said above, Ra is an Egyptian sun god who is mentioned many times in the magic incantation-like “Rah-rah” chant. Sun worship has always been at the center of occult mysteries as it is considered to be the ultimate representation of God.
Christianity has always been at odds with occult secret societies. Persecutions and accusations come from both sides and one often defines itself by the negating the other. This is also represented in the video.
The cross associated with the word “Monster” is also seen on her promotional pictures:
In some scenes, Gaga gradually starts to look like reptilian monster, with a focus on the spine.
There is a great resemblance with the devil in this painting by Michael Pacher. Notice the spine.
Lady Gaga’s Bad Romance is by far the densest and most symbolic video I’ve ever analyzed. It is a metaphorical yet accurate description of the steps which must be taken in order to become part of the “mega-pop-star machine”. Submission, control, business negotiations, initiation, secrecy and the embrace of dark forces are all represented in the video. Once decoded, the song describes indeed the Bad Romance of the music industry. The machine uses artists, it pimps them, it cheats on them with new, hotter artists and it finally dumps them when the initial appeal is lost.
Gaga, the “Fame Monster” wants to be treated that way, knowing that there is not any other way to obtain world-wide fame. One might be extremely creative and talented, however fame can only be achieved through the exposure provided by the media corporations. They are owned by a secretive elite, represented by the masks on the faces of the bidders in the video. Bad Romance, more than simply serving the required dose of subversive symbolism to the MTV generation, offers a chilling description of a music industry ruled by the elite. And now comes the hardest part: getting this damn song out of my head.
What do you mean by “mind control”? I suggest you research “project MK Ultra” to get a little background information on the subject. Here’s a quick overview taken from the surprisingly accurate Wikipedia:
Project MK-ULTRA, or MKULTRA, was the code name for a covert CIA mind-control and chemical interrogation research program, run by the Office of Scientific Intelligence. The program began in the early 1950s, continuing at least through the late 1960s, and it used United States citizens as its test subjects. The published evidence indicates that Project MK-ULTRA involved the surreptitious use of many types of drugs, as well as other methods, to manipulate individual mental states and to alter brain function.
Project MK-ULTRA was first brought to wide public attention in 1975 by the U.S. Congress, through investigations by the Church Committee, and by a presidential commission known as the Rockefeller Commission. Investigative efforts were hampered by the fact that CIA Director Richard Helms ordered all MK-ULTRA files destroyed in 1973; the Church Committee and Rockefeller Commission investigations relied on the sworn testimony of direct participants and on the relatively small number of documents that survived Helms’ destruction order.
Although the CIA insists that MK-ULTRA-type experiments have been abandoned, 14-year CIA veteran Victor Marchetti has stated in various interviews that the CIA routinely conducts disinformation campaigns and that CIA mind control research continued. In a 1977 interview, Marchetti specifically called the CIA claim that MK-ULTRA was abandoned a “cover story.”
An outgrowth of that project is unofficially referred to as “Project Monarch”. It is a mind control technique which exposes the subject to a trauma so violent that his/her mind creates a dissociation. The victim’s brain becomes compartmentalized and a new personality, which is then molded and educated by the manipulators, emerges.
“When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique.”
During their reeducation, subjects are said to be exposed to numerous symbols such as trees, spider webs, masks, mazes, butterflies, etc. They are also shown movies which contain specific symbols (or “triggers”) such as The Wizard of Oz and many Disney Movies. The same way those subjects are brainwashed and reeducated, mass media conducts a large scale mind control project, which starts at birth with Disney movies and continues with Hollywood flicks and music videos.
(For more information on Monarch mind control, check out the article entitled Origins and Techniques of Monarch mind control.
OMG! What does this crazy stuff has to do with Lady Gaga? I luv her!!
What we must retain here is the symbolism Monarch project engendered and its use in mass media. Monarch is a type of butterfly and became the ultimate “insider’s”symbol of mind control. Symbolism surrounding Lady Gaga, in her pictures and videos, mixes those symbols with occultism of secret societies.. Her vacuous, robotic and slightly degenerate persona embodies all the “symptoms” of a mind control victim. Let’s look at what Lady Gaga represents, starting by the basics: her name.
Gaga is a term that immediately refers to absent mindedness. Here are some synonyms taken from a thesaurus:
- Given to lighthearted silliness: empty-headed, featherbrained, flighty, frivolous, frothy, giddy, harebrained, lighthearted, scatterbrained, silly.Slang birdbrained, dizzy.
- Afflicted with or exhibiting irrationality and mental unsoundness: brainsick, crazy, daft, demented, disordered, distraught, dotty, insane, lunatic, mad, maniac, maniacal, mentally ill, moonstruck, off, touched, unbalanced, unsound, wrong.
“Gaga” is probably the easiest word to say in the English language, as it is often the first sound emitted by babies trying to imitate speech. So her name basically says: I’m a lady and I’m empty-headed. This empty head can filled with any crap you want. Imitate me young people. This state of mind is achieved after successful mind control.
Her name is also said to be inspired by Queen’s song “Radio Gaga”. The video of this song contains many scenes of the 1927 movie Metropolis. As seen in my article onBeyonce/Sasha Fierce, the motion picture tells the story of a woman from the working class that was chosen by the elite to give life to a robot, through a mix of science and Black magic.
Scene from Metropolis – Maria giving her likeness to a robot. Is this a metaphor for mind control? Notice the inverted pentagram in the background: Black magic.
This robot becomes a sexy and alluring performer and is given the goal to corrupt the working class. References to this movie abound in music videos, as if it was very significant for the occult elite. Madonna, Beyonce, Kylie Minogue and many others have taken the likeness of this female robot and, as you’ll see in the “Paparazzi” video, Lady Gaga also continues this “tradition”.
Her logo is pretty revealing and particularly fitting. Its a headless female body with a bolt of lightning going through her and exiting her genitalia. There is once again a focus on the lack of conscious thought by the singer. The body looks like the weird headless mannequins you find at clothing stores. The bolt of lightning implies that her thoughtless body has been “charged” with a force that gives it life (interesting note: trauma-based mind control is often induced using electro-shock treatments).
You only need to look at a couple of Lady Gaga pictures or videos to notice that she is constantly hiding one of her eyes. Most people will simply interpret this as ”a cool thing to do” or a “fashion statement”. Those who have passed the 101 of Illuminati symbolism know that the All-Seeing Eye is probably its most recognizable symbol. The gesture of hiding one eye, usually the left one, goes way back in occult orders. Here’s an explanation of the origin of the Eye of Horus.
Horus, the sun of Osiris and Isis was called ‘Horus who rules with two eyes’. His right eye was white and represented the sun: his left eye was black and represented the moon. According to the myth, Horus lost his left eye to his evil brother, Seth, who he fought to avenge Seth’s murder of Osiris. Seth tore out of the eye but lost the fight. The eye was reassembled by magic, by Thoth, the god of writing, the moon and magic. Horus presented his eye to Osiris, who experienced rebirth in the underworld.
-Dictionary of the Occult
One thing is for sure: Lady is Gaga for the All-Seeing Eye.
This last picture is very significant. It confirms the fact that the closed eye is used in the context of esoteric symbolism. Her left eye is in her hand, referring to the Hand of Fatima (evil eye). Also, one can’t ignore the resemblance with good ol’ Baphomet. (For more information on Baphomet, read the article entitled Who is Baphomet?)
How about this ad…could there by more pyramids and eyes?
Almost all of Lady Gaga’s videos contain occult symbolism and not-so-subtle hints referring to mind control. We’ll first look at a short video used as an intro during her tour.
Lady G is talking in a vaporous and robotic way, as if she was lobotomized, about a man who “swallowed her brain”. Gaga is questioned by a man who is talking in a very strange and hypnotic matter. If this is not about mind control, I have no idea what its about.
This video is loaded with symbolism but we’ll focus on the main story. It basically describes the fall and rise to the top of Lady Gaga, who, during the process, went through a huge metamorphosis.
Lady is in a bedroom with her boyfriend and they’re “getting it on”. Notice the Masonic checkerboard pattern on the wall and a ram’s head, representing Baphomet. He takes her outside on the balcony (which also features a checkerboard pattern). After noticing cameras taking pictures, the guy starts acting strangely and things get violent. He finally pushes Lady off the balcony.
While falling down, the background becomes a swirling pattern, typically associated with hypnotism. Lady Gaga falls down rather stylishly, hinting the fact that this descent is not physical. It represents the “trauma” victims of mind control have to go through in order to be “rebuilt from scratch”.
Lady Gaga then enters a mansion in a wheel chair and gradually takes off her clothes.
She slowly starts walking, with the help of crutches, representing her reeducation by the occult elite (she is inside a mansion). She is dressed like a robot, hinting Maria from the movie Metropolis, as seen above. Another scene shows her dancing in a half white/half black wedding dress. This signifies her (forced) association with the “dark Brotherhood”. Her transformation is then complete.
We then see her next to the boyfriend that pushed her off the balcony.
She is wearing Mickey Mouse clothes, hinting once again Monarch programming. She is behaving in a very robotic way, as if her thoughts and actions were controlled by someone else. Gaga then proceeds to poison the guy and smiles very weirdly about it. The fact that she murdered her boyfriend refers to the level “Delta” of the Monarch project, which is also known as the “killer” programming. Here’s a description of it
DELTA. This is known as “killer” programming, originally developed for training special agents or elite soldiers (i.e. Delta Force, First Earth Battalion, Mossad, etc.) in covert operations. Optimal adrenal output and controlled aggression is evident. Subjects are devoid of fear; very systematic in carrying out their assignment. Self-destruct or suicide instructions are layered in at this level.
-Dr. Corydon Hammond, Project Monarch Programming Definitions
After carrying out her murderous mission, Lady Gaga is more popular than ever and reaps the rewards of being an Illuminati slave.
If you are still doubtful of the occult themes of this videos, check out this snapshot from the Behind the Scenes video of Paparazzi (available here).
The director of the Paparazzi is wearing a Venom shirt, bearing the face of Baphomet and the Sigil of the Church of Satan. So, there is a chance that the director is slightly aware of those kinds of things.
Lady Gaga incorporates in her videos, photos and shows symbolism that refers to the Illuminati and mind control. Her symbolism is deep, esoteric and even spiritual yet she makes song like “Just Dance” which is about being totally numb. This paradoxical aspect of Lady Gaga is something that deserves to be analyzed and understood. While masses of young people imitate Gaga’s gestures, her act is part of a bigger system that incorporates many other stars with the same symbolism. She is creative and a gifted song writer. But at the end of the day, the “Lady Gaga” persona is a Fame Monster, doing everything required to be an international superstar, including incorporating in her act the symbolism of the elite, making her an Illuminati puppet.
What’s your opinion on the subject, Lady Gaga?
That’s what I thought.
In my articles on Lady Gaga and the 2009 VMAs, I’ve identified the use and display of elements taken from Masonic symbolism. If my previous claims were considered inconclusive or “grasping at straws” by some, I wonder if they’ll remain skeptical of the presence of Masonic symbolism in pop culture after seeing this set of photos, taken INSIDE A MASONIC LODGE,
If you have minimal knowledge of Freemasonry, you already know the great importance of the twin pillars Jachim and Boaz. They are depicted in a great number of Masonic works of art, such as this one.
Gaga is standing between both pillars, wearing Hello Kitty shoes, occultly referring to mind control programming (innocence, childhood, re-education, etc). Her eyes are closed but she has wide-open eyes painted on her eyelids, which is very symbolic: her eyes seem open but they are still wide shut.
In the picture above, Gaga is sitting on a Masonic throne, complete with the twin pillars on each side of her. Above her head is the compass of Freemasonry:
She is wearing a Hello Kitty dress and posing in a very mannequin-like stance. Her hands are positioned in way reminiscent of iconic art which displays the hermetic maxim “as above so below”.
In the picture above, Gaga is standing next to the bust of an important Mason (easily recognizable by the collar). The “one eye” symbolism discussed in the previous article is still an intricate part of Gaga’s imagery. She is however far from being the only artist doing this (see Rihanna’s R Rated album cover). Hello Kitty is covering Gaga’s…kitty in another odd juxtaposition of Masonic symbolism with mind control, often found in entertainment photo shoots.
In the previous article, I’ve mentioned that the name “Lady Gaga” was taken from the Queen video Radio Gaga, in which many scenes were taken from the movie Metropolis. This movie is known for its highly occult themes (Black Magic, sacrifices to the pagan god Moloch, mind control, the whore of Babylon) and is very often referred to in the music industry.
In the movie, Maria, a girl from the working class, is “chosen” by the elite to give her likeness to a mind-controlled robot in order to confuse the masses. There is a dichotomy between the real and the false Maria that is also found in Gaga’s latest offering called Fame Monster.
In the above image, Gaga’s hairstyle is extremely similar to the robot Maria seen here:
In this scene from Fritz’s Metropolis, the android Maria is meant to embody the “whore of Babylon” from Revelation 17:
“So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.
And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:
And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.
And the angel said unto me, Wherefore didst thou marvel? I will tell thee the mystery of the woman, and of the beast that carrieth her, which hath the seven heads and ten horns.”
The false Lady Gaga is opposed to the real, natural and apparently unhappy Lady Gaga.
Since the publishing of the first article, Lady Gaga’s symbolism has continued to exploit the same themes as were previously discussed. Although she is very smart and educated in symbolism, the settings of the pictures are the creations of photographers, stylists and other “consultants”. Whether she is commenting on the mind control phenomenon in mass media or simply a victim of it is still hard to determine but one thing is for sure: the symbolism is there and that’s the goal of the article. What is more unsettling is the fact that those themes are not exclusive to Gaga. They are associated with many acts in the music and the fashion industry to a point that one inevitably realizes that these artists are pawns of a greater machine, pushing its symbols through various outlets. References to mind control, to secret societies, to Baphomet and to Metropolis are too widespread to be coincidences or results of artistic expression. There is an obvious media campaign pushing these elements into pop culture. What should we do about it? MTV says: Just dance.
When I first heard Telephone on the radio, I thought the song was about Lady Gaga receivingphone calls from an annoying dude while she’s out in a club. I could already picture a video of Gaga on a dance floor not answering her cellphone. I’ve imagined this video because I was interpreting the song at its face value and going by its literal meaning, like most people do. Akerlund’s video has however infused a second, deeper meaning to the song, giving it an entirely new dimension. In an interview with E! Online, Gaga herself explained this fact:
“There was this really amazing quality in ‘Paparazzi,’ where it kind of had this purepop music quality but at the same time it was a commentary on fame culture. In its own way, even at certain points working with Jonas Åkerlund, the director of both videos really achieved this high art quality in the way that it was shot. I wanted to do the same thing with this video—take a decidedly pop song, which on the surface has a quite shallow meaning, and turn it into something deeper.”
In the video, the “telephone” is a metaphor for Gaga’s brain and the fact that she is not answering that phone (her brain) means that she has “dissociated” from reality. Dissociation is the ultimate goal of Monarch mind control. It is induced by traumatizing events, such as electroshock therapy or torture, to force the victim to dissociate from reality. This enables the handlers to create in the victim an alter personality that can be programmed to perform various tasks, such as carrying out an assassination.
“Trauma-based mind control programming can be defined as systematic torture that blocks the victim’s capacity for conscious processing (through pain, terror, drugs, illusion, sensory deprivation, sensory over-stimulation, oxygen deprivation, cold, heat, spinning, brain stimulation, and often, near-death), and then employs suggestion and/or classical and operant conditioning (consistent with well-established behavioral modification principles) to implant thoughts, directives, and perceptions in the unconscious mind, often in newly-formed trauma-induced dissociated identities, that force the victim to do, feel, think, or perceive things for the purposes of the programmer. The objective is for the victim to follow directives with no conscious awareness, including execution of acts in clear violation of the victim’s moral principles, spiritual convictions, and volition.
Installation of mind control programming relies on the victim’s capacity to dissociate, which permits the creation of new walled-off personalities to “hold” and “hide” programming. Already dissociative children are prime “candidates” for programming”.
- Ellen P. Lacter, Ph.D., The Relationship Between Mind Control Programming and Ritual Abuse
Gaga’s brain as a non-answering telephone is represented in two separate occasions during the video:
So in the context of the video, the telephone is Gaga’s mind and the dance club is representative of her dissociative state, the “magical place” mind-controlled slaves are trained to escape to during traumatic events.
“Hello, hello, baby
You called, I can’t hear a thing.
I have got no service
in the club, you say, say
Wha-Wha-What did you say, huh?
You’re breaking up on me
Sorry, I cannot hear you,
I’m kinda busy.
Sorry, I cannot hear you, I’m kinda busy.”
By “kinda busy”, Gaga means she has dissociated from reality. Real life is calling her brain but she “has no service”, she’s not there. The chorus pretty much epitomizes this concept.
“Stop callin’, stop callin’,
I don’t wanna think anymore!
I left my head and my heart on the dance floor.
Stop callin’, stop callin,
I don’t wanna talk anymore!
I left my head and my heart on the dance floor.”
Gaga is not thinking or talking for herself anymore, her head and her heart have been dissociated from her core personality due to Monarch programming.
The video is a Quentin Tarentino-esque short film which is heavily inspired by Thelma and Louiseand peppered with tons of product placements and transvestites. That surely wasn’t the video I was picturing when I first heard that song. From the comments I’ve read, the video left many fans confused about its meaning. This is quite understandable, knowing that most viewers have no idea what the song is really about. When the hidden “mind control” meaning is brought to light, the symbolism of the video becomes evident and the storyline becomes more coherent. I will now attempt to go through the many symbolic scenes of the video and explain their occult meaning. Here’s the video:
The video starts with Gaga entering the “Prison for Bitches”. So, yeah, I know, she addressed that hermaphrodite rumor and many think it was the most hilarious thing ever. I’ve never really cared about those gossipy rumors so I won’t elaborate on them.
In the prison yard, Gaga walks around chained up and wearing sunglasses made of lit cigarettes.
Gaga then sits down and “gets busy” with a weird-looking inmate, but is interrupted by a phone call. She seems to be enjoying a special status in the jail … maybe due to the fact that she is a slave only obeying orders … and that she is needed again.
Gaga is then bailed out by Beyoncé and leaves prison. Inside the car, Gaga and Beyoncé engage into a highly dissociative conversation. It basically sounds like dialogue between two mind-controlled slaves. The phrase “Trust is like a mirror. You can fix it if it’s broke but you can still see the crack in the motherfucker’s reflection” can refer to a cheating boyfriend and can also refer to the permanent damage caused by the fragmenting of one’s personality in mind control.
The dynamic duo then enters an all-American, good ol’-fashioned diner. Beyoncé meets with probably the biggest douche in the universe (played by Tyrese Gibson) and proceeds to poison him. At this point, Gaga comes out of the kitchen with poisoned honey and serves it to the customers.
The mass murder begins … people eat up Gaga’s poisoned honey and die. Does this represent the Illuminati elite poisoning the masses with toxic media?
The entire clientele of the all-American diner gets poisoned and dies. You might have noticed the emphasis on “bees” and “honey” during the entire video. Gaga calls Beyoncé “Honey Bee”. She also serves poisoned honey to the diner’s customers. What does this signify? Beyoncé and Gaga’s poisonous honey is actually their music and videos, which are served to the general public through mass media. You can figure out the rest.
While the customers are agonizing and dying, Beyoncé puts on the Mickey Mouse sunglasses, the same glasses worn by Gaga in Paparazzi while killing her boyfriend.
In both videos, the singers wore the glasses during the killings, hinting to the fact that they are programmed to execute the poisonings. As stated in previous articles, Mickey Mouse ears or designs often occultly refer to mind control , probably because Disney films were known to be used on MK slaves during their programming.
Gaga and Beyoncé then start dancing in “patriotic” outfits surrounded by the lifeless bodies of dead Americans … pretty disturbing. In her interview with E! Online about Telephone, Gaga stated she wanted to take
“the idea that America is full of young people that are inundated with information and technology and turn it into something that was more of a commentary on the kind of country that we are.”
Is that what she meant?
To sum up the situation in the diner, we have Lady Gaga and Beyoncé dancing around dead people and singing about the fact they are dissociative, mind-controlled drones.
“Can call all you want,
but there’s no one home,
and you’re not gonna reach my telephone!”
Gaga and Beyoncé finally flee the crime scene. Gaga is then shown in front of the Pussy Wagonwearing a leopard-print suit, a reference to “sex kitten” programming.
BETA. Referred to as “sexual” programming. This programming eliminates all learned moral convictions and stimulates the primitive sexual instinct, devoid of inhibitions. “Cat” alters may come out at this level.
-Ron Patton, Project Monarch
In the final scene, Gaga and Beyoncé prance around wearing dresses by Emilie Pirlot. Beyoncé’s black dress and the veils hint to the ritualistic nature of the murders.
As stated in previous articles, the hiding of one eye and the “a-ok” sign (which seemingly means 666 in the music industry) are flashed by all Illuminati artists, apparently to show their allegiance. There are a truckload of them in this video.
Electroshock therapy is the main tool employed by mind control handlers to induce dissociation and fragmentation in the victims. This horrifying practice has been referred to several times in Gaga’s works. Here are two examples.
In this interlude video of the Monster Ball Tour, Gaga clearly gets electroshocked:
Another instance where Gaga gets electroshock therapy.
Telephone is yet another Lady Gaga product permeated with references to mind control and Illuminati symbolism. Gaga’s “commentary” on today’s youth is certainly not a positive one. The video basically says: America is ready to eat any poisonous crap the elite serves them, and that is accomplished through controlled puppets. I will now pre-address comments I’m bound to receive:
“How is Lady Gaga mind controlling me? I’m not feeling controlled to do anything”
I am not saying that Gaga is controlling your mind. I’m saying her video is ABOUT mind control. This disturbing theme keeps reoccurring in pop music. What you should ask yourself is this: does mass media shape and mold our society’s values and beliefs? Billions of dollars invested yearly in marketing say yes.
“Your articles are a form of mind control.”
Someone voicing an opinion on a website is not a form of mind control. Quite to the contrary, it is a freedom guaranteed by the first amendment. To compare this article to the ritual abuse mind control victims have to go through is a total aberration. If you were forced to read out loud this article numerous times while being deprived of food and sleep, then maybe it could qualify as mind control.
“She is doing it on purpose to piss you off”
I heard this comment when Bad Romance came out and after her Grammy performance, where her hype man alluded to her “mind-controlling music”. As much as I would like to believe that I’ve got that much influence on today’s biggest star, I highly doubt that Gaga, her staff, her video directors and her record label with its millions of dollars would concentrate all of their creative efforts to piss off one blogger. The truth is: She was doing this before this site was even online and she keeps doing it now. Her works, like the works of many other pop stars, are part of a greater agenda. It used to focus on exposing the youth to materialism and sexual promiscuity, but it has now expanded to occult symbolism, mind control and transhumanism.
Am I reaching you or is your telephone busy?
The most prevalent theme in the song is rejection. The introduction of the song establishes this concept right away:
“I know that we are young.
And I know you may love me.
But I just can’t be with you like this anymore,
The video starts with a funeral procession. Gaga wears a black veil and holds the Sacred Heart, the bleeding heart of God for humanity. Something is dead inside of Gaga and it seems to be her love for Alejandro.
But who is Alejandro? A gay guy she cannot be with? A man she is cheating on with Roberto and Fernando? All possibilities, the song is not quite clear about that. The imagery of the video, however, tells the viewers that Alejandro might stand for something deeper.
In a later scene, Gaga is shown laying down, wearing a red latex nun suit and holding a rosary.
Looking at the sky she says: “Stop, please, just let me go.” Then, just when she says “Alejandro,” she raises her hands to the sky. In this context, it is safe to say that Alejandro might very well be God.
“She hides true love
En su bolsillo.
She’s got a halo ’round her finger,
The halo around the finger is a wedding ring and Alejandro has a halo around him, which signifies he is considered “holy.” The wedding ring represents Gaga’s union with God through religion, but she is now ashamed of this marriage. She hides the ring in her bolsillo, the Spanish word for pocket. Why does she refer to a Fernando and a Roberto at some point? Is she referring to the triple aspect of God, the holy Trinity?
The concept of rejection is thus applied to God as he does not seem to satisfy Gaga’s spiritual needs. She then decides to seek godhood herself by embracing a new type of spirituality. It seems to me the nun becomes a Luciferian priestess.
Gaga’s robe contains many inverted crosses. This is extremely significant in symbolic language. The cross is a symbol of the Christian faith as it represents Jesus Christ’s sacrifice and resurrection. In Christianity, the inverted cross is known as the “Cross of St. Peter”, in honor of Simon Peter who requested to be crucified upside down because he felt unworthy to be put to death in the same matter as Christ. In non-Christian circles, however, the inversion of the cross represents the perversion and desecration of what it symbolizes. For this reason, inverted symbols are found in black magic and satanism.
“In symbolism, an inverted figure always signifies a perverted power (…) Black magic is not a fundamental art; it is the misuse of an art. Therefore it has no symbols of its own. It merely takes the emblematic figures of white magic, and by inverting and reversing them signifies that it is left-handed.” - Manly P. Hall, Secret Teachings of All Ages
The inverted cross, placed on Gaga’s crotch, becomes a phallic symbol. Superimposed and combined with her female genitals, the theme of androgyny becomes prevalent. In occult circles, the alchemical transformation of the spiritual matter, the Great Work, must unite both opposing energies.
The rosary is a set of beads used in Catholic tradition for prayer and meditation. By swallowing the rosary, Gaga incorporates within her a symbol of religious devotion because 1) it is shocking and would get media attention 2) represents Gaga seeking to obtain godhood by her own means. We have here a symbolic representation of the tenets of Luciferianism, which is the drive to attain divinity by one own means. Lucifer is considered to be the active principle towards godhood, the one who brought “divine light” to the humans.
In another scene, Gaga is shown giving the sign of benediction and blessing, a gesture reserved in Catholicism to those who are considered Holy.
Later in the video, Gaga is violently pushed around and abused by the dancers surrounding her. She surrenders and removes her robe for sexual, ritual initiation.
At the ending of the video, Gaga is consumed from within and her “inner light” comes out, representing her transformation from the physical to the spiritual plane. Gaga’s performance atAmerican Idol truly exploited the Luciferian theme of the song.The performance takes place in a setting reminiscent to the Garden of Eden, where the “Fallen Angel”–Lucifer, the one who was banished from Heaven and tempted Adam and Eve with divine knowledge–presides over the ceremony. Fire comes out of the angel’s wings (after all, he is the “Light Bringer”) each time Gaga says “Alejandro.” At the end of the performance, Gaga is lifted up under the Fallen Angel as a blood-red liquid oozes out from the fountain underneath him. Another ritual sacrifice has taken place on prime-time television.
Gaga’s spiritual transformation is taking place in a dark, oppressive and militaristic backdrop. This trend in music videos has been discussed in The Transhumanist and Police State Agenda in Pop Music. The article describes how the public is currently being bombarded with militaristic and oppressive imagery, intertwined with sexuality, in order to desensitize the public and create a subconscious positive association. Alejandro is clearly a continuation of this agenda set by the rest of the industry. During the entire video, we see in the background a giant screen displaying scenes of social unrest, buildings on fire and military police running around, placing the viewers in a tense and oppressive ambience.
The video opens with men marching to a militaristic rhythm, some of them having their heads covered, maybe hinting that those men are prisoners of some sort. One of men is inside a pyramidal shape while another holds a hexagram as the prisoners march. Is this a representation of the masses marching to the rhythm of the elite, holding up high the symbols of its own oppression? Gaga is then shown in a position of power, wearing a black, illuminated crown while looking over the prisoners performing for her.
The “Black Queen” removes one goggle at a time, flashing the Illuminati All-Seeing Eye sign (discussed in many previous articles on this site) and revealing the true nature of her power.
In this scene, Gaga wears a “gun bra,” in accordance with the agenda of the sexualization of oppressive imagery. Her back-up dancers are dressed in uniforms reminiscent of dictatorships of the era of Hitler, Stalin, Franco and Mussolini. Political oppression is indeed sexy … oh wait, no, it’s not … it actually goes against everything America supposedly stands for.
In a symbolic scene, a soldier is shown attached to strings, like marionette. He is not in control of his own movements and holds a gun on his privates (more sexualization of weaponry). He stares blankly, looking confused as a mind-control slave would.
In what looks like an internment camp, Gaga has the gay men bound to a bed as she rapes them, in what looks like a reenactment of ritual abuse.
In the final scene of the video, Gaga is shown attached to strings. Is she herself controlled into perpetuating this agenda?
As stated above, the video to Alejandro is very complex and symbolic, and lends itself to multiple interpretations, depending on the viewer’s knowledge and point of view. There are, however, parts of the video in which the symbolism is clear and concise, leaving little doubt regarding the message being communicated. During the video, Gaga goes through a very profound metamorphosis, rejecting Christian faith by desecrating its symbols and embracing a new type of spirituality. Is Gaga’s transformation a representation of the transformation that is currently happening on a worldwide scale? Are members of the elite, who were thought to be part of “regular” religions, revealing their true, Luciferian selves to the public? Will the New World Order leave traditional religions in the dust to embrace a new type of spirituality? Whatever the case may be, pivotal videos such as this one disseminate into the collective unconscious a specific set of symbols and values that will become, in time, “part of our culture.” In order to achieve this, charismatic figures that are admired by the public are used make those messages cool and trendy. Music fans have been subjected to an intense creative drought in the past years, which caused them to be desperate for a new, eccentric and iconic presence. So Lady Gaga comes into the picture, slightly distances herself from the painfully formulaic music acts and is heralded as the new pop princess. She also brings with her all of the Illuminati agenda and flashes in her fans faces the symbols of their own oppression. I’m sure many fans have a gut feeling that something is wrong with her act, but still can’t stop listening to her. They must tell themselves, “well, there is nothing else to listen to.” And that’s what media monopolies are all about.
By Ricardo Alonso-Zaldivar
Monday, December 10, 2012
Your medical plan is facing an unexpected expense, so you probably are, too. It’s a new, $63-per-head fee to cushion the cost of covering people with pre-existing conditions under President Obama’s health care overhaul.
The charge, buried in a recent regulation, works out to tens of millions of dollars for the largest companies, employers say. Most of that is likely to be passed on to workers.
Employee benefits lawyer Chantel Sheaks calls it a “sleeper issue” with significant financial consequences, particularly for large employers.
“Especially at a time when we are facing economic uncertainty, [companies will] be hit with a multimillion-dollar assessment without getting anything back for it,” said Mr. Sheaks, a principal at Buck Consultants, a Xerox subsidiary.
Based on figures provided in the regulation, employer and individual health plans covering an estimated 190 million Americans could owe the per-person fee.
The Obama administration says it is a temporary assessment levied for three years starting in 2014, designed to raise $25 billion. It starts at $63 and then declines.
Most of the money will go into a fund administered by the Health and Human Services Department. It will be used to cushion health insurance companies from the initial hard-to-predict costs of covering uninsured people with medical problems. Under the law, insurers will be forbidden from turning away the sick as of Jan. 1, 2014.
The program “is intended to help millions of Americans purchase affordable health insurance, reduce unreimbursed usage of hospital and other medical facilities by the uninsured and thereby lower medical expenses and premiums for all,” the Obama administration says in the regulation. An accompanying media fact sheet issued Nov. 30 referred to “contributions” without detailing the total cost and scope of the program.
Of the total pot, $5 billion will go directly to the U.S. Treasury, apparently to offset the cost of shoring up employer-sponsored coverage for early retirees.
The $25 billion fee is part of a bigger package of taxes and fees to finance Mr. Obama’s expansion of coverage to the uninsured. It all comes to about $700 billion over 10 years, and includes higher Medicare taxes effective this Jan. 1 on individuals making more than $200,000 per year or couples making more than $250,000. People above those threshold amounts also face an additional 3.8 percent tax on their investment income.
But the insurance fee had been overlooked as employers focused on other costs in the law, including fines for medium and large firms that don’t provide coverage.
“This kind of came out of the blue and was a surprisingly large amount,” said Gretchen Young, senior vice president for health policy at the ERISA Industry Committee, a group that represents large employers on benefits issues.
Word started getting out in the spring, said Ms. Young, but hard cost estimates surfaced only recently with the new regulation. It set the per-capita rate at $5.25 per month, which works out to $63 a year.
America’s Health Insurance Plans, the major industry trade group for health insurers, says the fund is an important program that will help stabilize the market and mitigate cost increases for consumers as the changes in the Obama law take effect.
But employers already offering coverage to their workers don’t see why they have to pay into the stabilization fund, which mainly helps the individual insurance market. The redistribution puts the biggest companies on the hook for tens of millions of dollars.
“It just adds on to everything else that is expected to increase health care costs,” said economist Paul Fronstin of the nonprofit Employee Benefit Research Institute.
The fee will be assessed on all “major medical” insurance plans, including those provided by employers and those purchased individually by consumers. Large employers will owe the fee directly. That’s because major companies usually pay upfront for most of the health care costs of their employees. It may not be apparent to workers, but the insurance company they deal with is basically an agent administering the plan for their employer.
The fee will total $12 billion in 2014, $8 billion in 2015 and $5 billion in 2016. That means the per-head assessment would be smaller each year, around $40 in 2015 instead of $63.
It will phase out completely in 2017 — unless Congress, with lawmakers searching everywhere for revenue to reduce federal deficits — decides to extend the fees.
WASHINGTON — For more than a year, politicians have been fighting over whether to raise taxes on high-income people. They rarely mention that affluent Americans will soon be hit with new taxes adopted as part of the 2010 health care law.
The new levies, which take effect in January, include an increase in thepayroll tax on wages and a tax on investment income, including interest, dividends and capital gains. The Obama administration proposed rules to enforce both last week.
Affluent people are much more likely than low-income people to have health insurance, and now they will, in effect, help pay for coverage for many lower-income families. Among the most affluent fifth of households, those affected will see tax increases averaging $6,000 next year, economists estimate.
To help finance Medicare, employees and employers each now pay a hospital insurance tax equal to 1.45 percent on all wages. Starting in January, the health care law will require workers to pay an additional tax equal to 0.9 percent of any wages over $200,000 for single taxpayers and $250,000 for married couples filing jointly.
The new taxes on wages and investment income are expected to raise $318 billion over 10 years, or about half of all the new revenue collected under the health care law.
Ruth M. Wimer, a tax lawyer at McDermott Will & Emery, said the taxes came with “a shockingly inequitable marriage penalty.” If a single man and a single woman each earn $200,000, she said, neither would owe any additional Medicare payroll tax. But, she said, if they are married, they would owe $1,350. The extra tax is 0.9 percent of their earnings over the $250,000 threshold.
Since the creation of Social Security in the 1930s, payroll taxes have been levied on the wages of each worker as an individual. The new Medicare payroll is different. It will be imposed on the combined earnings of a married couple.
Employers are required to withhold Social Security and Medicare payroll taxes from wages paid to employees. But employers do not necessarily know how much a worker’s spouse earns and may not withhold enough to cover a couple’s Medicare tax liability. Indeed, the new rules say employers may disregard a spouse’s earnings in calculating how much to withhold.
Workers may thus owe more than the amounts withheld by their employers and may have to make up the difference when they file tax returns in April 2014. If they expect to owe additional tax, the government says, they should make estimated tax payments, starting in April 2013, or ask their employers to increase the amount withheld from each paycheck.
In the Affordable Care Act, the new tax on investment income is called an “unearned income Medicare contribution.” However, the law does not provide for the money to be deposited in a specific trust fund. It is added to the government’s general tax revenues and can be used for education, law enforcement, farm subsidies or other purposes.
Donald B. Marron Jr., the director of the Tax Policy Center, a joint venture of the Urban Institute and the Brookings Institution, said the burden of this tax would be borne by the most affluent taxpayers, with about 85 percent of the revenue coming from 1 percent of taxpayers. By contrast, the biggest potential beneficiaries of the law include people with modest incomes who will receive Medicaid coverage or federal subsidies to buy private insurance.
Wealthy people and their tax advisers are already looking for ways to minimize the impact of the investment tax — for example, by selling stocks and bonds this year to avoid the higher tax rates in 2013.
The new 3.8 percent tax applies to the net investment income of certain high-income taxpayers, those with modified adjusted gross incomes above $200,000 for single taxpayers and $250,000 for couples filing jointly.
David J. Kautter, the director of the Kogod Tax Center at American University, offered this example. In 2013, John earns $160,000, and his wife, Jane, earns $200,000. They have some investments, earn $5,000 in dividends and sell some long-held stock for a gain of $40,000, so their investment income is $45,000. They owe 3.8 percent of that amount, or $1,710, in the new investment tax. And they owe $990 in additional payroll tax.
The new tax on unearned income would come on top of other tax increases that might occur automatically next year if President Obama and Congress cannot reach an agreement in talks on the federal deficit and debt. If Congress does nothing, the tax rate on long-term capital gains, now 15 percent, will rise to 20 percent in January. Dividends will be treated as ordinary income and taxed at a maximum rate of 39.6 percent, up from the current 15 percent rate for most dividends.
Under another provision of the health care law, consumers may find it more difficult to obtain a tax break for medical expenses.
Taxpayers now can take an itemized deduction for unreimbursed medical expenses, to the extent that they exceed 7.5 percent of adjusted gross income. The health care law will increase the threshold for most taxpayers to 10 percent next year. The increase is delayed to 2017 for people 65 and older.
In addition, workers face a new $2,500 limit on the amount they can contribute to flexible spending accounts used to pay medical expenses. Such accounts can benefit workers by allowing them to pay out-of-pocket expenses with pretax money.
Taken together, this provision and the change in the medical expense deduction are expected to raise more than $40 billion of revenue over 10 years.
President Obama seems to have a strategy to terminate all of the Bush tax cuts, not just those for “the rich,” as he has been saying since 2008. He is offering the Republicans exactly zero concessions in the “fiscal cliff” negotiations. No spending cuts, no entitlement reform, no compromise on the rates. It is entirely my way or the highway, and if the Republicans refuse to do everything exactly as he demands, he will let the Bush tax cuts expire entirely, for the middle class and working people as well as the upper incomes, and blame the Republicans for refusing to go along with him, and for the economic results.
It is a cynical game worthy of an undeveloped, third world country, not theUnited States of America. But this is just one more reason, with many more to come, for the American people to regret the mistake they made on Election Day.
Because so many major media institutions, like theNew York Times and the Washington Post, have been so duplicitous and dishonest in discussing the Bush tax cuts, most Americans don’t know much about them, even though they have been living with them for 10 years or more now. Indeed, most of what they think they know is not true. But the American people will understand them better, when they see what life is like without them.
President Bush and his Congressional Republican majorities at the time cut taxes for everyone in the 2001 and 2003 tax cuts. Indeed, they cut more for lower and middle income taxpayers than they did for “the rich,” as Obama calls the nation’s job creators, investors, and successful small businesses. The top tax rate was cut by only 13%, while the lowest rate was cut by one-third, 33%.
According to official IRS data, the top 1% of incomeearners paid $84 billion more in federal income taxes in 2007 than in 2000 before the Bush tax cuts were passed, 23% more. The share of total federal income taxes paid by the top 1% rose from 37% in 2000, before the Bush tax cuts, to 40% in 2007, after the tax cuts.
In contrast, the bottom half of income earners paid $6 billion less in federal income taxes in 2007 than in 2000, a decline of 16%. The share of federal income taxes paid by the bottom 50% declined from 3.9% in 2000 to 2.9% in 2007.
The Bush tax cuts also included a doubling of the child tax credit from $500 per child to $1,000 per child. Because of that, and the 33% cut in the bottom tax rate, nearly 8 million more people dropped off the federal income tax rolls entirely, paying zero federal income taxes. Indeed, under the Bush tax cuts, the bottom 40% of all income earners not only paid no federal income taxes, as a group on net. By 2009, they were being paid cash by the IRS equal to 10% of all federal income taxes.
These Bush tax cuts did not explode the deficit, as Obama and his echo chamber have alleged. By 2007, the deficit was down to $160 billion, less than 15% of Obama’s deficits today. Total federal revenues soared from $793.7 billion in 2003, when the last of the Bush tax cuts were enacted, to $1.16 trillion in 2007, a 47% increase. Capital gains revenues had doubled by 2005, despite the 25% capital gains rate cut adopted in 2003. Federal revenues rose to 18.5% of GDP by 2007, above the long term, postwar, historical average over the prior60 years. CBO was projecting surpluses to return indefinitely in 2012 through the end of its projection period in 2018.
Bush did increase federal spending as a percent of GDP by one-seventh, erasing the federal spending cuts enacted by the Republican Congressional majorities in the 1990s. But even with that, deficits during the Bush years averaged just 2% of GDP, one-third less than the average over the prior 50 years. President Obama’s deficits have averaged 5 times as much, at 9.1% of GDP.
The proof is in the pudding over the Bush tax cuts. They were followed by a record 52 straight months of job creation, producing 8 million new jobs, with the unemployment rate falling to 4.4%. Business investment spending, which had declined for 9 straight quarters, reversed and increased 6.7% per quarter, producing all those new jobs.
Because of that increased investment, labor productivity soared by 2.5% annually from 2003 to 2007, higher than the averages of the 1970s, 1980s, and 1990s. As a result, real after tax income per capita increased by more than 11%.
Manufacturing output soared to its highest level in 20 years. The stock market revived, creating almost $7 trillion in new shareholder wealth. From 2003 to 2007, the S&P 500 almost doubled. After the Bush tax cuts started in 2001, quickly ending the 2001 recession, the economy continued to grow for another 73 months. From 2000 to 2007, real GDP grew by more than 17%, meaning an additional $2.1 trillion for the American people.
This was mostly the opposite of what President Obama has produced, with his neo-Marxist Obamanomics, particularly unemployment more than twice as high, declining middle class incomes, soaring poverty, weak job growth, stagnant stock market values, collapsing business investment, and negligible growth in GDP.
Of course, the Bush tax cut boom was ended by the 2008 financial crisis. But as discussed in many previous columns, that was caused by the excessiveoverregulation of President Clinton’s home ownership promotion policies, creating the subprime mortgage market and the housing bubble, and by President Bush’s cheap dollar monetary policies. Obama’s foolish argument that the Bush tax cuts caused the 2008-2009 recession is so dishonest that abusive propaganda alone should disqualify him from office.
Obama’s gleeful termination of the Bush tax cuts will produce just the opposite results of those tax cuts. The combination of all the tax rate increases, along with Obama’s abusive overregulation, and the Fed’s continued mischief, will throw the economy back into recession next year. Unemployment will soar back into double digits, breaking the post depression record of 10.8%. The deficit will soar to over $2 trillion, setting new all time world records. The national debt as a percent of GDP will gallop past Greece.
Middle class incomes will plummet further. Poverty will soar to new all time records.
We can’t afford the Bush tax cuts, as Obama says? We can’t afford to terminate them. Over the past 45 years, every time the capital gains tax rate has been increased, capital gains revenues have declined rather than increased. Obama’s nearly 60% increase in that rate will have the same effect. After the Bush cut in taxes on dividends, dividends paid soared, and so did taxes paid on those dividends. Obama’s near tripling of that tax will have the opposite effect as well. Indeed, if the economy declines back into renewed recession, total federal revenues will decline rather than increase.
Obama’s ploy of blaming all of this on the Republicans will not work this time. The public knows the Bush tax cuts were adopted into law by the Republicans, with complete Republican control of Congress and the White House at the time. It will be too obvious that it took President Obama and his new neo-Marxist Democrat Party to let them expire.
Enjoy the new Obama recession. You and your neighbors voted for it.