As
Katy breaks the mirror, we see butterflies flying off her dress – an
image that emphasizes the fact that she is breaking out of Monarch
programming.
Breaking Out?
Then next scene is in sharp contrast to the rest of the video. While
before it was all about fantasy and mystery, we are now in a cold,
sterile health institution. In other words, we appear to be out of
Katy’s head and back to reality. Katy appears to be completely “shut
down”, sitting on a wheel chair in what appears to be a mental
institution. Is this her MK programming site?
Katy
looks like what MK victims must look like after enduring the trauma of
Mind control . She is totally “out of it” and probably drugged by the
strawberry she is holding.
Mind control slaves are subjected to all kinds of torture by their
handlers. At some point during the “treatment”, the pain, whether
physical or emotional, becomes too much to bear and their brain’s
natural response is to dissociate from reality. Handlers actually want
their subjects to dissociate as it facilitates programming. They use
movies such as Alice in Wonderland and Wizard of Oz to
program victims to dissociate “through the looking glass” or “over the
rainbow”. Up until now, the video took place in Katy’s dissociative
inner-world.
While Katy is somewhat of a zombie, her core persona, little
Katheryn, is “Wide Awake” and is determined to get out of there. Some
people, however, do not want to see that happen.
Two
men with horned heads (see Baphomet) block Katheryn’s way to freedom.
Do these non-human, evil-looking men represent Katy’s handlers?
However, Katheryn’s will-power blasts the horned guys away and even brings Katy back to life.
The lyrics of the song convey this sense of liberation from a deceitful and oppressive state of mind. Here’s the first chorus:
I’m wide awake
Yeah, I was in the dark
I was falling hard
With an open heart
I’m wide awake
How did I read the stars so wrong?
I’m wide awake
And now it’s clear to me
That everything you see
Ain’t always what it seems
I’m wide awake
Yeah, I was dreaming for so long
So, at this point, one might ask: Is this video about Katy actually
breaking out of mind control? The rest of the video might answer the
question.
Upon leaving the institution, Katy and her core persona find themselves back in the fantasy land.
Katy
and her core persona are back in the dissociative fantasy land - at
the other side of the Labyrinth where things seem nicer.
This
cat with hypnotic eyes is a reminder that Katy might still be tightly
monitored and under the control of her handlers. The butterflies on
Katy’s head are also a good indicator of this fact.
At this point, Katheryn hopes on her bike and leaves Katy.
Katheryn,
the core, authentic persona of Katy says goodbye. Why is she leaving?
Isn’t our core personality something we should ALWAYS have?
Before leaving, Katheryn leaves Katy a gift … a symbolic gift.
Back
in her dressing room, realizes that she’s been given a butterfly. Did
her Katheryn give Katy the poisonous gift of being back under mind
control?
The butterfly leads us from the dressing room to a stage, before a performance of the song Teenage Dreamss.
In other words, Katy (and viewers of the video) have gone full circle
and are back at the starting point. This echoes the false rebellion and
“escape from nothing” plotlines of other recent music videos, as
discussed in The Police State Agenda in Jay-Z and Kanye’s “No Church in the Wild” and Adam Lambert’s “Never Close Our Eyes”.
Although a quest appears to have been completed and foes appear to have
been defeated, Katy is back in her “sexy pop star” persona, complete
with lollipop bras. This is who she is now, a product of the music
industry. Her core persona is gone.
Did she learn from something from Katheryn and is now better equipped
to face the pitfalls of celebrity? Maybe. However, the orgy of
butterflies in the video reminds us that, in the end, she is still under
the control of the music industry and the MK symbolism it promotes.
Need more proof? Check out her attire while she performed Wide Awake at the MuchMusic Video Awards in Canada.
Katy is basically one big giant butterfly – the ultimate symbol of Monarch Programming.
Monarch butterflies over one eye. That’s like VC 101.
In Conclusion
Katy Perry’s Wide Awake is a prime example of Monarch
programming symbolism being promoted in mass media products. While it
may be deemed “original” and “imaginative” by many, it is strikingly
similar to other MK-themed video analyzed on this site. For instance,
Paramore’s Brick by Boring Brick
also features a younger (purer) version of the singer, a flurry of
butterflies, rooms full of mirrors and so forth. Why are all of these
symbols found in these unrelated videos (any countless others)? It is
because these symbols are, in fact, related: They are symbols of Monarch
Programming mind control. This is the common thread uniting these
symbols. It also explains the otherwise puzzling plots of the videos.
Although it is probably the most disgusting and vicious concept known
to man, Monarch programming is often referenced in popular culture.
And, since Monarch programming is one of the ways the occult elite keeps
a stranglehold on many areas, including the entertainment industry, it
is often subtly glamorized in mass media. Most people let all of this
imagery go straight to their minds without even understanding its true
meaning. However, there is one way to not allow these unwanted messages
to reach our brains: Be TRULY wide awake.
The Police State Agenda in Jay-Z and Kanye’s “No Church in the Wild” and Adam Lambert’s “Never Close Our Eyes”
Why do music videos these days often feature police in riot gear
and violent repression? Is there an attempt to normalize the concept of a
police state in mass media? Two recent and blatant example of this
agenda is Jay-Z and Kanye’s video “No Church in the Wild” and Adam
Lambert’s “Never Close Our Eyes”. Even though these songs are different
in style, their underlying message is similar and is on par with the
police state agenda of the world elite. This article will look at the
meaning and implications of these videos.
What does Jay-Z have in common with Adam Lambert? At first glance,
nothing at all. At second glance, they’re mainstream artists part of the
music industry and at some point, even though they differ in style and
substance, they are expected to push the agenda of the elite. As we
discussed in the article The Transhumanist and Police State Agenda in Pop Music,
the entertainment industry is used to promote and normalize the concept
of a police state in the eyes of young people. Since the publishing of
that article in early 2010, many other artists have featured an
oppressive police force and violent repression as part of their works.
From performances in live shows to music videos, there is a conscious
and constant effort to associate the cool and sexy aura of pop stars
with the otherwise abhorrent sight of riot police in a free society.
Two recent examples of the perpetuation of the police state agenda in popular culture are Jay-Z and Kanye West’s music video No Church in the Wild and Adam Lambert’s Never Close our Eyes.
In spite of, or perhaps because of, the fact that these songs are two
different genres that aim to reach two different markets, they both
contribute to the saturation of popular culture with police state
imagery. While the authorities are not necessarily portrayed as the
“good guys”, they are nevertheless there, as if their presence at any
kind of public demonstration is normal. Let’s look at the symbolism and
the underlying meaning of these two videos.
No Church in the Wild
No Church in the Wild has rather profound philosophical
implications. The lyrics are of course up for interpretation, one of
which is that the song is a rejection of religious dogma to embrace a
more humanist (and maybe hedonistic) way of life. The title of the song
itself is a figurative way of saying that religious institutions such as
the Church are unnecessary human constructs that are not found in
nature. That being said, the video consists of lovely footage of trees
and streams … oh no, actually the video is about a bunch of dudes
getting beat up by riot police. Why? What’s the relationship to the
lyrics? I am not totally sure, but the video is pretty much five
straight minutes of angry rioters and violent police repression. A great
way to desensitize young people to the concept of police state.
The video begins with a guy lighting up a Molotov cocktail in Prague (although some shots appear to be taken in Paris, France).
In the video, the rioters do not appear to have a valid cause and they are clearly portrayed as the aggressors.
So, right away, we are right in the middle of a confrontation between
police in riot gear and young rioters. There is no prior explanation
and the rioters have been given no “noble cause” to defend. Even if they
do, the viewer is not made aware of it, sort of how mass media relays
stories of riots across the world. We’re just seeing senseless violence
that is initiated by rioters.
The
rioters are angry and aggressive. Without a back story describing the
source of their grief, it is rather hard to identify with them.
The policemen do not take this crap for long. The young guys charge,
violently, giving police an excuse to take out their shiny weapons and
retaliate with even more violence. And boy, do they bash on them.
This guy gets clubbed back to sanity.
This one gets his feet swiped off to fall on his back while other policemen apparently laugh at him.
This
one gets a face full of tear gas at point blank range, a lot like
student protestors at UC Davis. I am pretty sure that this is NOT the
way the user manual recommends using tear gas.
All of these scenes happen in slow motion with a cool beat in the background. As Dave Chappelle once said in his legendary Chappelle Show,
everything looks cool in slow motion. Even police clubbing down a young
defenseless guy. Is police oppression being glamorized in an indirect
way? Here’s a strange juxtaposition of images:
This guy got chased down by police cavaliers and got smacked right on the head with a nightstick.
Right after this scene, we see a shot of a statue that gives a deeper meaning to the violence shown.
Right
after we see a rioter get clubbed down by a policeman, we see a shot of
a statue of Theseus clubbing the Minotaur. This story from Greek
mythology esoterically represents the slaying of man’s “lower animal”
side in order to achieve illumination. Is the video saying that the
rioting masses are the “lower animal” side of society that needs to be
tamed (or slayed) by the illuminated?
The video features several other dramatic shots of sculptures found
in Paris, notably a few from the Arc de Triomphe. As we’ve seen in the
series of articles Sinister Sites, sculptures and monuments in
major cities are often imbued with the symbolism, mythology and
philosophy of the world elite and the secret societies behind it. Since
these massive monuments are often commissioned and funded by members of
the world elite, it is rather expected that they represent them and
their views. In the context of the video, showing these stone monuments
implacably overlooking the chaos that is happening on street level is a
reminder that the elite is seeing what is happening and probably
approves of it. After all, isn’t the Masonic motto of the world elite Ordo Ab Chao (Order Out of Chaos)?
Later in the video, day turns into night … and strobe lights, the
kind we usually see in clubs and raves, appear in the riot scene.
Police in riot gear surrounded by strobe lights. They are really trying to associate police with stuff young people enjoy.
Usually when strobe lights are on, it is because something cool is
happening, like music, partying or dancing. That being said, why are
they around police in riot gear? Are we trying to confuse young minds
with good old-fashioned cognitive dissonance? Just in case you might be
confused: Being repressed by police does NOT equals a party.
At the end of the video, nobody truly wins or loses. Rioters fight
back and appear triumphant while police still stand their ground. In
other words, nothing has changed and status quo is preserved. An
elephant makes an odd appearance in the streets of Paris, reminding the
viewers that the “wild” in question is, in fact, our society, where
people act like animals and the strongest one wins. In this wilderness,
there is no Church, no respite from the savagery, just the stone gaze of
statues overlooking the violence. These sculptures represent the puppet
masters, those who pull the strings on both sides in order to advance
their agenda of a more controlled and repressive society.
The Police State Agenda in Jay-Z and Kanye’s “No Church in the Wild” and Adam Lambert’s “Never Close Our Eyes”
Jun 13th, 2012
|
Category: Music Business |
228 comments
Why do music videos these days often feature
police in riot gear and violent repression? Is there an attempt to
normalize the concept of a police state in mass media? Two recent and
blatant example of this agenda is Jay-Z and Kanye’s video “No Church in
the Wild” and Adam Lambert’s “Never Close Our Eyes”. Even though these
songs are different in style, their underlying message is similar and is
on par with the police state agenda of the world elite. This article
will look at the meaning and implications of these videos.
What does Jay-Z have in common with Adam Lambert? At first glance,
nothing at all. At second glance, they’re mainstream artists part of the
music industry and at some point, even though they differ in style and
substance, they are expected to push the agenda of the elite. As we
discussed in the article The Transhumanist and Police State Agenda in Pop Music,
the entertainment industry is used to promote and normalize the concept
of a police state in the eyes of young people. Since the publishing of
that article in early 2010, many other artists have featured an
oppressive police force and violent repression as part of their works.
From performances in live shows to music videos, there is a conscious
and constant effort to associate the cool and sexy aura of pop stars
with the otherwise abhorrent sight of riot police in a free society.
Two recent examples of the perpetuation of the police state agenda in popular culture are Jay-Z and Kanye West’s music video No Church in the Wild and Adam Lambert’s Never Close our Eyes.
In spite of, or perhaps because of, the fact that these songs are two
different genres that aim to reach two different markets, they both
contribute to the saturation of popular culture with police state
imagery. While the authorities are not necessarily portrayed as the
“good guys”, they are nevertheless there, as if their presence at any
kind of public demonstration is normal. Let’s look at the symbolism and
the underlying meaning of these two videos.
No Church in the Wild
No Church in the Wild has rather profound philosophical
implications. The lyrics are of course up for interpretation, one of
which is that the song is a rejection of religious dogma to embrace a
more humanist (and maybe hedonistic) way of life. The title of the song
itself is a figurative way of saying that religious institutions such as
the Church are unnecessary human constructs that are not found in
nature. That being said, the video consists of lovely footage of trees
and streams … oh no, actually the video is about a bunch of dudes
getting beat up by riot police. Why? What’s the relationship to the
lyrics? I am not totally sure, but the video is pretty much five
straight minutes of angry rioters and violent police repression. A great
way to desensitize young people to the concept of police state.
The video begins with a guy lighting up a Molotov cocktail in Prague (although some shots appear to be taken in Paris, France).
In the video, the rioters do not appear to have a valid cause and they are clearly portrayed as the aggressors.
So, right away, we are right in the middle of a confrontation between
police in riot gear and young rioters. There is no prior explanation
and the rioters have been given no “noble cause” to defend. Even if they
do, the viewer is not made aware of it, sort of how mass media relays
stories of riots across the world. We’re just seeing senseless violence
that is initiated by rioters.
The
rioters are angry and aggressive. Without a back story describing the
source of their grief, it is rather hard to identify with them.
The policemen do not take this crap for long. The young guys charge,
violently, giving police an excuse to take out their shiny weapons and
retaliate with even more violence. And boy, do they bash on them.
This guy gets clubbed back to sanity.
This one gets his feet swiped off to fall on his back while other policemen apparently laugh at him.
This
one gets a face full of tear gas at point blank range, a lot like
student protestors at UC Davis. I am pretty sure that this is NOT the
way the user manual recommends using tear gas.
All of these scenes happen in slow motion with a cool beat in the background. As Dave Chappelle once said in his legendary Chappelle Show,
everything looks cool in slow motion. Even police clubbing down a young
defenseless guy. Is police oppression being glamorized in an indirect
way? Here’s a strange juxtaposition of images:
This guy got chased down by police cavaliers and got smacked right on the head with a nightstick.
Right after this scene, we see a shot of a statue that gives a deeper meaning to the violence shown.
Right
after we see a rioter get clubbed down by a policeman, we see a shot of
a statue of Theseus clubbing the Minotaur. This story from Greek
mythology esoterically represents the slaying of man’s “lower animal”
side in order to achieve illumination. Is the video saying that the
rioting masses are the “lower animal” side of society that needs to be
tamed (or slayed) by the illuminated?
The video features several other dramatic shots of sculptures found
in Paris, notably a few from the Arc de Triomphe. As we’ve seen in the
series of articles Sinister Sites, sculptures and monuments in
major cities are often imbued with the symbolism, mythology and
philosophy of the world elite and the secret societies behind it. Since
these massive monuments are often commissioned and funded by members of
the world elite, it is rather expected that they represent them and
their views. In the context of the video, showing these stone monuments
implacably overlooking the chaos that is happening on street level is a
reminder that the elite is seeing what is happening and probably
approves of it. After all, isn’t the Masonic motto of the world elite Ordo Ab Chao (Order Out of Chaos)?
Later in the video, day turns into night … and strobe lights, the
kind we usually see in clubs and raves, appear in the riot scene.
Police in riot gear surrounded by strobe lights. They are really trying to associate police with stuff young people enjoy.
Usually when strobe lights are on, it is because something cool is
happening, like music, partying or dancing. That being said, why are
they around police in riot gear? Are we trying to confuse young minds
with good old-fashioned cognitive dissonance? Just in case you might be
confused: Being repressed by police does NOT equals a party.
At the end of the video, nobody truly wins or loses. Rioters fight
back and appear triumphant while police still stand their ground. In
other words, nothing has changed and status quo is preserved. An
elephant makes an odd appearance in the streets of Paris, reminding the
viewers that the “wild” in question is, in fact, our society, where
people act like animals and the strongest one wins. In this wilderness,
there is no Church, no respite from the savagery, just the stone gaze of
statues overlooking the violence. These sculptures represent the puppet
masters, those who pull the strings on both sides in order to advance
their agenda of a more controlled and repressive society.
Never Close Our Eyes
While Adam Lambert’s song Never Close Our Eyes differs greatly from No Church in the Wild,
it still exposes young people to the same kind of imagery and ends a
similar way: An illusion of victory by the revolutionaries – with a
special emphasis on the word “illusion”.
Never Close Our Eyes takes place in a dystopian future (in
mass media, the future is ALWAYS dystopian) in a setting that is
reminiscent of George Lucas’ movie THX 1138 or Michael Bay’s The Island,
where Adam Lambert finds himself living in a tightly monitored
community (or prison), surrounded by emotion-less and zombie-like
denizens.
Never
Close Our Eyes is yet another video set in a dystopian future,
characterized by the omnipresence of surveillance cameras. If we are not
already in this vision of the future, we’re definitely heading directly
towards it.
In this giant compound, the inhabitants are constantly under
surveillance, are fed and sedated with pills and have their
individuality repressed through eye color removal.
Adam
and his mates must enter soul-sucking machines that remove the color
from people’s eyes – representing the lost of free will and
individuality. Isn’t that what TVs are for?
Adam’s eye color however stays the same – meaning that he rejects the
system’s indoctrination. He ultimately gets fed up and starts an
uprising. A funky uprising.
Adam doesn’t feel like doing back-breaking labor anymore. So he gets up in defiance and runs away with a few other rebels.
Adam and his crew then run towards the exit in order to escape the Big Brother prison.
So up until now, one could say: “Finally, someone who stands up to
this NWO crap and delivers an inspiring message”. Most critics
effectively describe this video as “Adam Lambert destroying Big Brother
with dance”. But does he really destroy Big Brother? Let’s look at the
rest of the video and see what really happens.
A bunch of officers meet the rebels at the fence and shoot smoke at them – turning the place into a dance floor!
In
No Church in the Wild, police were surrounded by strobe lights and in
Never Close our Eyes, they walk around with smoke makers like those
found in clubs. Wow, riot police always really bring fun everywhere they
go!
After getting smoked, do Adam and his friends fight harder to tear
down the fence and run away? Nope, they stay behind the fence and start
dancing. Does that equal destroying Big Brother? Last time I checked:
No.
After
being smoked out by the police, Adam and his friends are shown dressed
in colorful attire and performing super funky choreography. Take that
Big Brother!
If you look closely at the dance scene, Adam’s clothes keep changing,
which may hint that the whole thing is just one big illusion or
hallucination. Were they drugged by the gas? Is this all happening in
their heads? Is all this dancing just “smoke and mirrors” making them
believe that they’re free and happy? One thing is for sure, the entire
thing seems to have confused Adam and his friends because, at the end of
the video, they actually run back to where they came from!
Hey gang, freedom is the other way! Why are you running back there? Why are you so happy? Why … awww screw it I give up.
To sum up the video, Adam rebels against a highly monitored system
where everyone is controlled and sedated. He runs towards freedom but,
when he is met with police with smoke guns, his rebellion turns into a
colorful party and, when all is said and done, nothing really happens.
The rebels get all happy and cheerful, dance for a while and run back to
Big Brother.
We can parallel the conclusion of this video to what happens in
America and the world. While the masses are increasingly getting our
rights revoked, our privacy eradicated and our freedoms taken away, we
do nothing about it. We are distracted with smoke and mirrors,
television and cinema, escapism and denial. We celebrate a contrived and
fabricated illusion of freedom, then run right back to the comfort of
the elite-controlled society, allowing the elite to pursue their agenda
uncontested. As Frank Zappa said: “The illusion of freedom will
continue as long as it’s profitable to continue the illusion. At the
point where the illusion becomes too expensive to maintain, they will
just take down the scenery, they will pull back the curtains, they will
move the tables and chairs out of the way and you will see the brick
wall at the back of the theater.”
In Conclusion
Jay-Z and Kanye West’s No Church in the Wild and Adam Lambert’s Never Close Our Eyes
are two examples of a widespread and continual effort to promote police
state imagery on TVs, movie screens and computer monitors across the
world. Associating cool artists who are adored by millions of people
with riot police not only normalizes the concept of a police state but
also creates an unconscious positive association in the minds of the
viewers. Meanwhile, in real life, protests across the Western world are
increasingly being met with riot police. Violent repression, brutal
arrests and sophisticated weaponry are being used with less and less
restraint and are even becoming the norm. Peaceful protests are often
purposely sabotaged by paid agent provocateurs who incite violence,
“legitimizing” the police repression.
Do not be fooled by the smoke and mirrors that make up the news and
music videos: The presence of heavily armed police forces during public
demonstrations is not normal; rather, it is an aberration in a free and
democratic society. However, this obvious fact seems to have been
forgotten as police state laws and tactics and weaponry are being
deployed with increasingly frequency across the world. But there is
nothing cool or normal about riot police … even if they are shown with
strobe lights in a Jay-Z video. Even if they dance around with Rihanna,
Beyonce or Lady Gaga. Even if they’re in all the video games. An
oppressive police force is the opposite of normal in a free and just
society. And if riot police ever do become normal, the elite will have
accomplished an incredible feat: Duping the masses into accepting a
police state, without it even knowing it.
Katy Perry’s ‘Part of Me’: Using Music Videos to Recruit New Soldiers
In her music video ‘Part of Me’, Katy Perry ditches her wigs and
latex dresses to put on a Marines uniform. While some might find this
style change “refreshing”, the video for ‘Part of Me’ has a very
specific agenda: To entice young people to enlist in the military. We’ll
look at how ‘Part of Me’ is a three-minute long advertisement to
recruit new soldiers for the U.S. military.
Katy Perry is usually known for wearing blue wigs and sexy dresses, but she gives it all up in Part of Me.
Yup, watch out terrorists, Katy Perry is an army girl now. While “pop
culture observers” welcomed Katy Perry’s image change, qualifying it as
“refreshing”, most missed an important fact: In Part of Me,
Katy Perry is used to push yet another agenda of the elite – the
recruitment of young people into the military. If we look at it
objectively, Part of Me is, in fact, a three-and-half-minute
long “Join the Military” advertisement disguised as a music video. It
contains all of the components found in regular TV ads for the Marines
and any other army-related ads: cool high-tech war machines, excitement
and action, being “All You Can Be” and so forth. But most importantly,
it presents the military and, by extension, war, as the perfect escape
from the bummers of regular life.
The video was shot at an actual U.S. Marine base, using actual
Marines, which means that the video is truly a “sponsored message” from
the Marines. By appealing to young people using singers they look up to
and themes they can relate to, the U.S. military is looking to address
an important issue: Getting more young people to enlist. There is indeed
a growing need for fresh blood in the military as the U.S. government
and other Western countries are putting intense pressure on so-called
“Axis of Evil” regional powers such as Iran and Syria. The numerous
military expeditions of the past few years (Iraq, Afghanistan, Libya),
and increasing calls to bring home enlisted soldiers who have done
multiple tours of duty means that as the U.S. prepares for upcoming
conflicts, new soldiers are needed to enlist and be shipped abroad.
Instead of paying for a 30-second TV commercial, military marketing
specialists probably realized that they could get better results by
investing in the music video of a star that is popular with teenagers.
While regular “Be All You can Be” TV commercials were effective in the
past, today’s young generation watches less TV and more YouTube. So why
not use pop stars who getting hundreds of millions of YouTube views and
who are already used to push other aspects of the elite’s agenda?
Not a New Concept
A 1917 Uncle Sam poster used to recruit soldiers during WWI
Governments have always used the most advanced forms of mass media
advertising to entice citizens to enlist in the armed forces. During
World War I, the face of Uncle Sam was plastered all over the United
States in order to recruit new soldiers. However, as the years went by,
and television made its appearance, posters of the bearded fellow
pointing at you with a stern look somewhat lost its effectiveness.
During the 1950s, although mandatory drafts were in full force, the
military still looked for opportunities for good PR. When Elvis Presley,
the hottest and most controversial artist of the time, joined the army
as a regular soldier, the press was given “full access”, and were even
allowed take pictures of him in his drawers while getting weighed in.
Elvis' career as a soldier was highly publicized, as countless pictures of him flooded mass media.
Elvis’ immense charm, charisma and popularity gave the army great
visibility, successfully enticing young people of the rebellious
“Rock’n'Roll” generation to be interested in the military.
Since the 1950s, marketing techniques have improved in both
efficiency and sophistication. In fact, today, the best advertisement
often parades itself as no advertisement – in the advertising industry,
messages are known to be received more effectively when indirectly
reaching an audience that believes it is being entertained. To achieve
this, celebrities and pop stars are often used as vehicles to reach the
minds of young people with specific messages without them even realizing
it. Katy Perry’s Part of Me is an example of this technique,
as nowhere in the video does it state that it is an advertisement for
the U.S. military. Perry’s video was simply used by the military to
reach its target audience–teenagers approaching the age of enlistmen–but
the whole thing appears as if it was a “creative” decision of Katy
Perry the Artist.
Watching Part of Me immediately reminded me of the Simpsons
episode were Bart and his friends were chosen by a producer to form a
boy band. The group’s hit single was Yvan Eht Nioj, which was “Join the
Navy” in reverse. It was later discovered that Bart Simpson’s group was
used by the Navy to push subliminal messages to young people in order to
get them to become soldiers.
Party Posse's music video featured the group doing cool army things in Iraq such as driving dunebuggeys and flying jet fighters.
While Perry’s video relies on overt imagery rather than subliminal messages (as far as I know), Part of Me
is based on the same agenda as portrayed in the Simpsons: To reach
teenagers using the great appeal of pop stars. Let’s look at the most
important scenes of the video.
Part of Me
The video begins with a concept most teenagers can relate to:
Heartbreak. Katy catches her boyfriend kissing another woman. so she
barges in and breaks up with him.
Katy
walks away from her douchebag boyfriend. Although the video is
basically a commercial for the United States military, it begins with a
relationship-related scene in order to make the video relatable and to
give it an emotional element.
Katy then drives to a gas station. She is very mad, confused and
impulsive, so she obeys to the first advertisement she encounters. I bet
marketers would love to have more people like Katy.
When Katy reads this actual US Marines sticker, she is immediately sold.
When facing heartbreak, some people might try to feel better with a
chocolate fudge sundae or maybe a nice walk around the block. But in
Katy’s case, she joins the US industrial-military complex and gets
trained to fight guerrilla warfare abroad. Don’t get me wrong, I have
respect for soldiers in the military, but I think a life-changing
decision like joining the Marines should not be made in a moment of
emotional frenzy.
Nevertheless, Katy makes this decision, cutting her hair in a boyish fashion and trading her Blackberry for a Marines uniform.
Katy is now the property of the U.S. military complex.
The rest of the video is very similar to armed forces commercials
seen on TV where big guns, big machines and scenes of hardcore combat
training are presented in a dynamic matter to appeal to young people who
are bored with their lives. The lyrics of the song are cleverly mixed
with the images of the video to make the advertisement even more
effective. For instance, when Perry sings “I just wanna throw my phone away, Find out who is really there for me”, she is seen with her fellow soldiers, implying that her Marines buddies will never let her down.
Katy
burns a letter from her boyfriend (representing her old life) while
hanging out with her Marines buddy. He's REALLY there for her.
Camaraderie between soldiers is an important selling point to help
recruit personnel and is heavily promoted in this video.
When Katy sings: “I fell deep and you let me drown, But that was then and this is now … Now look at me”, she is shown firing a rifle as if it was a great accomplishment. Yep, look at her:
Katy
is now in a military base, shooting a rifle and will most likely be
shipped to a warzone in the near future. Take THAT cheating boyfriend,
that'll show you!
During the bridge of the song, Katy sings “Now look at me, I’m sparkling, A firework, a dancing flame, You won’t ever put me out again, I’m glowing, oh woah oh”.
During that time she is shown patrolling a mock Middle-Eastern village,
used for real-life military training for guerrilla warfare simulations.
This is another clever association between the song’s lyrics and the
images in the video, provoking a positive association between the two.
Katy,
you say you're "sparkling" but you're being trained to fight guerrilla
warfare in the Middle East, which is known to be extremely bloody,
violent and often involve civilian casualties. So, yeah, I'm not sure
that "sparkling" is the best word to describe your situation.
Later in the video, the positive and uplifting words of the chorus
are mixed with all-out war scenes involving soldiers running, tanks
rolling and helicopters flying. There’s definitely some cognitive
dissonance here because, in case some people don’t know, war is NEVER
positive nor uplifting. It is ALWAYS terrible, violent and horrifying.
However, in order to recruit new soldiers, advertisers need to make the
whole “military experience” appear wonderful.
Katy
is now caught up in the business of war, where death, mutilation,
horror and trauma can get in the way of conquering Third World countries
for resources and power. But hey, at least Katy's douchebag boyfriend
isn't there!
So, in short, discovering that her boyfriend is cheating on her has
Katy Perry enlist in the Marines, to be trained for combat, and,
ultimately, be used as cannon fodder in conflicts she likely doesn’t
fully understand. The elite seems to be looking for lost youth to fight
their wars. Was Part of Me an Illuminati-sponsored message to find new recruits for its armed branch, the U.S. military-industrial complex?
A
single eye above the trigger of a gun indicates that this
military-themed video is a product of the elite's agenda ... who happen
to have a bunch of wars planned in the coming years.
In Conclusion
Watching a bit of “international news” is enough to make one realize
that there is currently a lot of pressure on “bad” countries such as
Syria, Iran and Uganda, and that public opinion is being prepped for new
military conflicts. The prospect of future wars, along with the
countless existing warzones around the world, are generating a great
need for new soldiers military in the U.S. and other Western countries.
Since military drafts are no longer an option, new and innovative ways
are being used to reach the army’s target audience (teenagers) and to
get them interested in enlisting in armed forces. Katy Perry’s Part of Me
is an obvious Marines recruitment advertisement disguised as a music
video, with the Marine’s “cool” weaponry, intensive training and soldier
camaraderie all presented in a dynamic and appealing matter. The
military and war are presented as ideal escapes from life’s bummers,
like a cheating boyfriend, and geared to appeal to a generation of bored
teenagers. But is war really the perfect way to forget about a bad
relationship? Go ask a war veteran.
The Transhumanist and Police State Agenda in Pop Music
Today’s pop music is filled with
symbols and messages aimed to shape and mold today’s youth. Apart from
the occult symbolism discussed in other articles, other parts of the
elite’s agenda are communicated through music videos. Two of those parts
are transhumanism and the introduction of a police state. We’ll look at
the way those agendas are part of the acts of Rihanna, Beyonce, Daddy
Yankee and the Black Eyed Peas.
As seen in previous articles on this site,
the world’s biggest stars exploit common themes in their work,
permeating popular culture with a set of symbols and values. The
cohesiveness of the message that is communicated to the masses,
regardless of the artists’ musical genre, attests to the influence of a
“higher power” over the industry. Other articles on this site have
explored the way Illuminati symbolism, based on secret society
occultism, has been reflected in popular videos. Exposing and
desensitizing the world to the elite’s sacred symbols is, however, only
one aspect of their agenda. Other aspects of Illuminati control are
reflected in today’s popular music as well, including: mass mind
control, transhumanism (the “robotization” of the human body) and the
gradual introduction of a virtual police state. Through the news, movies
and the music industry, this agenda is being insidiously presented to
the masses, using various techniques. If the news scares people into
accepting measures diminishing their personal freedoms and ushering in a
“new era”, the music business accomplishes the same job by making it
seem sexy, cool and trendy. This angle is mainly aimed at the younger
crowd, which is much more susceptible to “take in” the industry’s
message.
Essential Information
If you’ve never heard of transhumanism or martial law, I suggest you visit the “Educate Yourself” section first, as I will only provide a very summary explanation of each concept here.
Transhumanism
- Image from humanityplus.org
“Transhumanism is an international intellectual
and cultural movement supporting the use of science and technology to
improve human mental and physical characteristics and capacities. The
movement regards aspects of the human condition, such as disability,
suffering, disease, aging, and involuntary death as unnecessary and
undesirable. Transhumanists look to biotechnologies and other emerging
technologies for these purposes. Dangers, as well as benefits, are also
of concern to the transhumanist movement.
The term “transhumanism” is symbolized by H+ or h+ and is often
used as a synonym for “human enhancement”. Although the first known use
of the term dates from 1957, the contemporary meaning is a product of
the 1980s when futurists in the United States began to organize what has
since grown into the transhumanist movement. Transhumanist thinkers
predict that human beings may eventually be able to transform themselves
into beings with such greatly expanded abilities as to merit the label
“posthuman”. Transhumanism is therefore sometimes referred to as
“posthumanism” or a form of transformational activism influenced by
posthumanist ideals.
The transhumanist vision of a transformed future humanity has
attracted many supporters and detractors from a wide range of
perspectives. Transhumanism has been described by one critic, Francis
Fukuyama, as the world’s most dangerous idea,while one proponent, Ronald
Bailey, counters that it is the “movement that epitomizes the most
daring, courageous, imaginative, and idealistic aspirations of
humanity”.
What is almost never mentioned is the fact that those technological
“improvements” will be out of reach for the average man. The huge price
tags of those scientific discoveries will render them only accessible to
a select elite. While the common man is forced to seek nourishment in
genetically modified, chemically altered and even poisonous foods, the
elite is trying to achieve immortality through science. Even if the
masses cannot have access to those discoveries, mass media makes
transhumanism cool, desirable and, ultimately, acceptable.
- Cover of H+, a transhumanist magazine. The headline says it all.
Police State
George W. Bush’s Patriot Act has enabled the American
government to expand surveillance of its citizens, whether it be phone
calls, e-mails and physical movements. It also gave the government
almost unlimited powers of arrest, detention, search and seizure. Donald
E. Wilkes, Professor of Law at the University of Georgia School of Law
describes this last concept:
“I want to examine here a single section of the USA
Patriot Act–section 213, definitely one of the most sinister provisions
of this monstrous statute.
In euphemistic language that conceals the provision’s momentous
significance, section 213 states that with regard to federal search
warrants “any notice required … to be given may be delayed if … [1]the
court finds reasonable cause to believe that providing immediate
notification of the execution of the warrant may have an adverse result
…; [2] the warrant prohibits the seizure of any
tangible property … except where the court finds reasonable necessity
for the seizure; and [3] the warrant provides for the giving of such
notice within a reasonable period of its execution, which period may
thereafter be extended by the court for good cause shown.”
Section 213 may be couched in Orwellian terminology, but there is no doubt about what it does.
Section 213 is the first statute ever enacted in the history of
American criminal procedure to specifically authorize an entirely new
form of search warrant-what legal scholars call the sneak and peek
warrant (also dubbed the covert entry warrant or the surreptitious entry
warrant). A sneak and peek search warrant authorizes police to effect
physical entry into private premises without the owner’s or the
occupant’s permission or knowledge to conduct a search; generally, such
entry requires a breaking and entering.”
- Donald E. Wilkes, Flagpole Magazine Sept 2002.
Subsequent acts have further diminished civil liberties of citizens
by enabling the government to declare any American a “terrorist” with
little to no proof. The government can also declare martial law with
little or no valid reason.
“The John W. Warner Defense Authorization Act of
2006, “named for the longtime Armed Services Committee chairman from
Virginia,” was signed October 17, 2006, by President George W. Bush. The
Act “has a provocative provision called ‘Use of the Armed Forces in
Major Public Emergencies’,” the thrust of which “seems to be about
giving the federal government a far stronger hand in coordinating
responses to [Hurricane] Katrina-like disasters,” Jeff Stein, CQ
National Security Editor wrote December 1, 2006.
“But on closer inspection, its language also alters the
two-centuries-old Insurrection Act, which Congress passed in 1807 to
limit the president’s power to deploy troops within the United States …
‘to suppress, in a State, any insurrection, domestic violence, unlawful
combination, or conspiracy’,” Stein wrote.
“But the amended law takes the cuffs off” and “critics say it’s a
formula for executive branch mischief,” Stein wrote, as “the new
language adds ‘natural disaster, epidemic, or other serious public
health emergency, terrorist attack or incident’ to the list of
conditions permitting the President to take over local authority —
particularly ‘if domestic violence has occurred to such an extent that
the constituted authorities of the State or possession are incapable of
maintaining public order.’”
“One of the few to complain, Sen. Patrick J. Leahy, D-Vt., warned
that the measure virtually invites the White House to declare federal
martial law. … It ‘subverts solid, longstanding posse comitatus statutes
that limit the military’s involvement in law enforcement, thereby
making it easier for the President to declare martial law,’ he said in
remarks submitted to the Congressional Record on Sept. 29.”
- Source
We’ll see how those concepts are cleverly
inserted into pop music in order to create specific climate in the
collective consciousness.
Rihanna’s Hard and AMA Performance
Previous articles on this site looked at the occult or mind-control related symbolism found in Umbrella, Disturbia and Russian Roulette. Fully embodying Illuminati agenda, Rihanna’s Hard incorporates the military/police state element.
In hip-hop slang, the term “hard” usually
refers to someone who is street-savvy, gritty, rebellious and who is
decisively “not down with police”. Hard transposes this term to
a military context. Her militaristic video features a gang of uniformed
men dancing under the orders of “General Rihanna”. We’ve come a long
way from Public Enemy’s Fight the Power…it is now Submit to the Power.
All of this military/dictatorial imagery is mixed with Rihanna’s sexy
moves and outfits, appealing to the masses’ basest instinct: sex. This
generates in the viewer an unconscious positive response to this
otherwise terrible backdrop. I mean, who likes to be in a war zone? Not
people who have experienced it, that’s for damn sure.
- Ummm, I don’t really relate to all of this.
How come guns were always censored from
music videos (especially rap) until very recently? Is it only acceptable
when they are used to promote war and a police state?
- In this symbolic image, Rihanna’s Mickey Mouse
hat represents Mind Control. She is sitting on the phallic symbol that
is the tank’s cannon. In other words, she is a pawn of the Illuminati
agenda.
Her performance in the 2009 American Music Awards
also contains a great deal of noteworthy elements. The intro video is a
disturbing display of dehumanization and Mind Control lead by a
“shadow government”. Rihanna is a cyborg being programmed by the
insertion of a microchip inside of her (RFID anyone?). Notice the
shadowy appearance of those performing the surgery.
During her performance she is surrounded by dancers wearing riot gear helmets and totting shotguns around.
At the end of the song Hard, Rihanna chants “Where the bloggers at? Where the bloggers at?”
I’m right here.
Beyonce’s Grammy Performance
Beyonce walks on stage with a bunch of men
dressed in riot gear… the type of unit a police state would use to
repress opposition during popular turmoil. What are they doing in
Beyonce’s performance? Contributing to permeate popular culture with
police-state imagery.
Is the American public being mentally prepared for martial law? But that’s impossible, Beyonce is such a good girl … oh wait.
Daddy Yankee’s Performance at Premio Lo Nuestro 2010
Reggaeton superstar Daddy Yankee has likely been chosen to promote the Agenda to the Latino community. His performance at the Premio Lo Nuestro
awards in Miami is simply a perfect Illuminati fit. At the beginning
the performance, a picture of Daddy Yankee standing under a Masonic
compass is displayed.
- Daddy Yankee under a Masonic compass
Daddy Yankee’s is surrounded by dancers looking like robotic cyber-police/soldiers. The name of his new single is Descontrol, which means “lose control”. Interesting.
By the way, here is the logo of Premios Lo Nuestro awards.
The Black Eyed Peas’ Imma Be Rocking that Body
This long video is all about the merger of humans and robots, which
is, as seen above, the ultimate goal of transhumanism. It starts with
Fergie saying “we are not robots!” … only to see her become a half-robot shooting a gun that causes an irresistible need to breakdance.
Will.I.Am starts his verse by saying “Imma be the upgraded new negro”, which pretty much sums up the transhumanist philosophy.
- The upgraded new Will.I.Am and friends?
At the end of the video, Fergie wakes up from her “dream”. It sure was cool when she was a robot, wasn’t it?
In Conclusion
Articles on this site have mainly focused on the occult symbols found
in music videos. There are, however, other aspects of the Illuminati
agenda that are present in popular culture. Transhumanism and the
establishment of a virtual police state are two objectives that are
slowly but surely being implemented with little to no public debate.
Movies, video games and the music industry are doing the job of leading
the masses’ collective consciousness towards a new era by saturating the
airwaves with those concepts. The “robot agenda”, as some observers
call it, has been an intricate part of the music industry for years now
and examples of it are way too many to enumerate. The theme of the
“upgraded human” due to his robotization has been exploited by most of
today’s international stars. There is a difference between a trend and
an agenda.
The “police state” element found in video and performances is
relatively new but equally, if not more, disturbing. Music has always
been a healing, liberating and emancipating medium. Looking at the music
industry’s products of the last years, is there a possibility of it
being hijacked by an ever-intrusive elite? Think about who owns the
record companies.
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