Symbolic Pics of the Month 03/17

Source: VigilantCitizen.com
March 26, 2017

In this edition of SPOTM: Emma Watson, Gigi Hadid, Bella Hadid, a triceratops and some inappropriate stuff happening at the Kid’s Choice Awards.

Emma Watson is an “It” celeb at this particular moment and, of course, the media attention comes with a bunch of symbolic stuff (even photo “leaks”). Some controversy surrounded the following Vanity Fair photoshoot because Emma posed topless under a somewhat revealing shirt, prompting accusations of her being a “fake feminist”. As usual, mass media completely overlooked the core meaning of the photoshoot: Monarch mind control, where Emma is symbolically under the spell of a handler.

In this pic, Watson is trapped in a cage while birds are free around her. The cage is chained to what appears to be a piece of cloth which illustrates that her state of confinement is mental and not physical. As a whole, the image represents Watson being under mind control. On the left, we can make out a face made out of cage wire. Does it represent the handler, the one who has created Emma’s mental prison?
Here, Emma is lifted in the air by a man. Through trauma, the MK handler causes the slave to dissociate which comes with a feeling of weightlessness. In other words, this picture symbolically alludes to extreme pain and torture at the hands of a handler and the human brain’s natural response to it: Dissociation.
This image is also a reference to dissociation, specifically the feeling of total disorientation that it causes. The floating objects and the broken clock allude to the loss of the concepts of space and time during dissociation.
This piece illustrates the blurring between reality and fiction during mind control. Emma is embedded inside a picture frame in a perspective that is somewhat impossible. The image conveys the loss of one’s humanity during MK. Once again, this is happening under the supervision of the handler.

As usual, the One-Eye sign appeared everywhere in mass media in the past weeks – often in places that you would not expect … but also in places you would fully expect.

This product was promoted during the Superbowl and its logo couldn’t be more obvious: The triple 6 One-Eye hand sign (the fingers make three sixes).
While this “premium bottled water” is marketed as something very artistic and inspired (I only drink artistic water BTW), the truth is that it is owned by the Pepsico conglomerate which is owned by powerful elite people … the same people who are trying to permeate everything artistic with their symbolism.
This symbol is seen literally everywhere in Netflix’s “A Series of Unfortunate Events”. Is it a reference to the above triple 6 sign?
Guess who’s a big fan of this hand sign? You’ve guessed it. Emma Watson.
The Victoria’s Secret model Taylor Hill puts up that very same hand sign in a somewhat creative way in Marie Claire Indonesia.
More One-Eye action in Marie Claire Taiwan. This symbol NEEDS to be seen newsstands around the world.
The media conglomerate Conde Nast recently released the first issue of Vogue Arabia. On the cover is Gigi Hadid and the One-Eye sign. The title written in Arabic says: “Eye on the East”. The elite truly has its Eye on the East … and the West.
Meanwhile, Gigi’s sister Bella Hadid is doing a devil’s horn  + One-Eye sign combo to promote something.
This is an ad for an art exhibit entitled “9x9x9” at the National Gallery of Denmark. Even “national art” needs to be tainted.
A promotional poster for the movie “Kong Skull Island”. All hail the one-eyed king.
The promotional poster of the German movie “Werk Ohne Autor” = One Eye.
Every single character poster promoting Vampire Diaries features cracks around one eye.
Rihanna strategically hides one eye while being very edgy (she’s holding a lighter!) in Paper magazine.
The Kids Choice Awards is, in my humble opinion, worse than cancer and World War I combined. The fact that it is aimed specifically to kids makes it even worse than these two awful things combined. The group Little Mix delivered an uncomfortably sexual performance while wearing clothes with strange messages. The girl on the left (I don’t know her name and don’t care) is wearing a shirt on which is written “sick & twisted DEPRAVED” with a snake going inside a skull’s eye socket. Depraved means “marked by moral corruption or perversion”. Sounds about right. On the black shirt is an inverted pentagram – the symbol of black magick and satanism. The group won the award “Favorite Global Music Star”. Sounds about right.
The first image promoting the sequel of Jurassic World features a young girl looking up to a dinosaur skull. Although the skull appears to be of a triceratops, the exaggerated horns makes it reminiscent to the head of Baphomet. Before you go to the comments and type “BRO YOU REACHING BRO.”, look at this and compare.
The goat of Mendes made to fit an inverted pentagram.
The K-Pop group Six Bomb released two singles entitled “Getting Prettier Before & After” where the entire group underwent ACTUAL radical plastic surgery to change their faces. I’ve written several articles about K-Pop, its occult symbolism and the exploitation of its artists and this latest stunt further confirms the lack of control these girls have over their careers, let alone their physical integrity.

Read More At: VigilantCitizen.com

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The PsyOp To Neuter The Rebel

DareToBeDIfferent!

Source: NoMoreFakeNews.com
Jon Rappoport
January 17, 2017

If you want to track a civilization as it collapses, watch what happens to the concept of the rebel.

From the 1960s onward—starting with Lee Oswald and the assassination of JFK—the whole idea of “the rebel” with power has been sequentially updated and repackaged. This is intentional.

The objective is to equate “rebel” with a whole host of qualities—e.g., runaway self-serving paranoia; random destruction; out-of-control drug use; generalized hatred; the commission of crimes…

On a lesser, “commercialized” level, the new rebel can define himself by merely showing up at a concert to scream and drink heavily and break something, having already dressed to make a dissident fashion statement. He can take an afternoon off from college classes and have his arms tattooed. All the while, of course, he functions as an avid consumer of mainstream corporate products.

You even have people who, considering themselves rebels of the first order, support a government that spies on its people 24/7, launches military attacks all over the world, and now funds a Manhattan Project to map every move of the 100 billion neurons of the brain, for the ultimate purpose of controlling it.

Even going back as far as the 1950s, the so-called decade of conformity, psyops professionals sculpted notions of The Rebel: He was the person who didn’t want to take part in the emerging bland corporate culture.

He was imagined and presented as troubled, morose; a wobbly unfocused JD Salinger Holden Caulfield, or a beatnik, a Madison Avenue caricature of somebody who opposed Madison Avenue.

In other words, the people who were shaping the consumer culture were creating the image of the rebel as a cartoon figure who just didn’t want to buy into “the good life.”

Time Magazine ran a cover story on the beatniks, and characterized them as a disaffected trend. Marlon Brando, heading up a bunch of moronic motorcycle riders, invaded a town of pleasant clueless citizens and took it over, wreaking destruction. The 1953 movie was The Wild One. James Dean, who had the same trouble Brando did in articulating a complete sentence, was “the rebel without a cause” in the “iconic film” of the same name. He raced cars toward cliffs because his father couldn’t understand him.

These were all puff pieces designed to make rebels look ridiculous, and they worked. They also functioned to transmit the idea to young people that being a rebel should be a showbiz affectation. That worked, too.

Then the late 1960s arrived. Flower children, in part invented by the major media, would surely take over the world and dethrone fascist authority with rainbows. San Francisco was the epicenter. But Haight-Ashbury, where the flowers and the weed were magically growing out of the sidewalks, turned into a speed, acid, and heroin nightmare, a playground for psychopaths to cash in and steal and destroy lives. The CIA, of course, gave the LSD culture a major push.

For all that the anti-war movement eventually accomplished in ending the Vietnam war-crime, in the aftermath many of those college students who had been in the streets—once the fear of being drafted was gone—scurried into counselors’ offices to see where they might fit into the job market after graduation. The military industrial complex took its profits and moved on, undeterred.

The idea of the rebel was gone. It later resurfaced as The Cocaine Dealer, the archangel of the 1980s.

And so forth and so on. All these incarnations of The Rebel were artificially created and sustained as psyops. At bottom, the idea was to discredit the Individual, in favor of The Group.

Now, in our collectivist society of 2016, The Group, as a rapidly expanding victim class, is the government’s number one project. It’s a straight con. “We’re here to make you worse off while we lift you up.”

In the psyop to demean, distort, and squash the rebel, there is a single obvious common denominator: the establishment media are doing the defining; they are the ones who are setting the parameters and making the descriptions; they are the ones who build the cartoons; looking down their noses, pretending to a degree of sympathy, they paint one unflattering picture after another of what the rebel is and does and says; they have co-opted the whole game.

These days, the ultimate rebels, the media would have you believe, are “gun-toting racist bitter clingers who have religion.” Another attempt to shape a distorted unflattering portrait

You can take a whole host of political films and television series of the past 50 years, and look at them for signs of the Rebel: Seven Days in May, Advise and Consent, The Candidate, The Seduction of Joe Tynan, Dave, Primary Colors, The Contender, Good Night and Good Luck, The American President, West Wing, Scandal, The Newsroom…

Good acting, bad acting, drama, message—at the end you’re looking for the core. What do the rebel heroes really stand for? What are their principles? It’s all bland. It’s vague. It has the posturing of importance, but little else.

As I was finishing this piece, a friend wrote with a quote attributed to Robert Anton Wilson: “The universe is a war between reality programmers.”

This is exactly where the real rebel enters the scene. He’s not trying to program people. Freedom means cutting loose from programming.

The Rebel doesn’t go to the market and choose which reality program he wants. They’re all used up as soon as they come out of the package.

Albert Camus once wrote: “The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience. It would be easy, however, to destroy that good conscience by shouting to them: if you want the happiness of the people, let them speak out and tell what kind of happiness they want and what kind they don’t want! But, in truth, the very ones who make use of such alibis know they are lies; they leave to their intellectuals on duty the chore of believing in them and of proving that religion, patriotism, and justice need for their survival the sacrifice of freedom.”

“THIS or THAT” is the history of Earth: choose reality program A or B. The choice was always a con.

We’re well into a time period when the experts and scientific authorities are settling on the human being as a biological machine that can only respond to programming. That’s their view and their default position.

It’s sheer madness, of course, but what else do you expect? We’re in an intense technological age, and people are obsessed with making things run smoother. They treat their precious little algorithms for control like the Crown Jewels. They’re terribly enthusiastic about the problem they’re solving, and that problem is us.

We’re the wild cards, a fact which they take to be result of our improper and incomplete conditioning. They aim to fix that.

“Why not stop diddling around and just make the whole thing over? Why not reshape humans?”

Having decided that, the battle begins between competing programmers of the mind. Which program for humans is better?

The rebel is against all such programming, no matter how “good and right” it sounds. “Good” and “right” are the traps.

“Well, certainly we could make a list of qualities we want all people to have. You know, the best qualities, like bravery and determination. Who could be against that? So suppose we could actually program such qualities into humans? Wouldn’t that be a fine thing? Then people would just BE that way…”

The ultimate rebellion is against programming, whatever it looks like, wherever it occurs.

Programming is someone else’s idea of who and what you should be.

It is never your idea.

Your idea is where the power is.

Read More At: JonRappoport.wordpress.com

The Matrix [1999] – Esoteric Analysis

Film Poster.
Source: JaysAnalysis.com
Jay Dyer
January 20, 2014

The Matrix, as I’ve joked many times, is one of those perennial topics in philosophy 101 classes that tends to evoke the most inane and mindless “philosophizing” by the mind-warped morass of modern morlocks.  Yet still, it is a film that is packed with esoteric symbolism, philosophy, “predictive programming,” and all other manner of poppy culture engineering.  In this analysis, we are going to go elucidate themes, motifs and symbols missed by other sites, as we consider one of the system’s principal works of self-flattery.  Interestingly, of all films to analyze in the way sites like mine do, this the most obvious seems forgotten in the haze of the now umpteen hundred Eyes Wide Shut analyses.

The Matrix begins with a computerized image of the Warner Bros. logo, a phone ring, and a conversation between Trinity (Carrie-Anne Moss) and Cypher (Joe Pantoliano) about watching “him” (Neo, Keanu Reeves), and whether the line is secure.  The implication is that the communications are all surveilled (think of how few knew of the mass NSA surveillance that existed at the time the film was released). The viewer sees the screen morph into 1s and 0s and the now-famous green screen code.  From the outset, this is to signify that the audience, as with Eyes Wide Shut, is in the dark.  It is the movie going public that is about to enter into the videodrome “matrix,” as they step into the theater to see what will be a largely CGI Hollywood production.  The audience is not only stepping into the matrix of the videodrome, but as the overall message of the film will convey, lives out lives occupied almost entirely in an engineered world of simulated reality.  In this regard, The Matrix will operate on multiple levels, from the conspiratorial/geo-political, to the psychological, to the metaphysical.

In the first scene, the viewer is shown a motel called “Heart O’ The City,” where bumbling police enter room “303.” Numerology does play into the film, especially since binary code is the very heart of computers.  “303” is the equivalent of 33, and Trinity is caught trying to dial into the “real world” to escape her inner-matrix watching of Neo.  Alchemy and numerology place a high value on the number 33, being the highest degree of Scottish Rite Masonry.  Manly P. Hall speaks of 33 as highly significant for alchemy because 3×3=9, the number of the emanations from the One, and conversely as the number of initiation.  We can therefore speculate that, given the many examples of masonic and occult symbols and referents in the film, this is very likely the paradigm from which the film was crafted.  The heart is also crucial to alchemy, inasmuch as the heart and intellect must combine to produce balance.  “Trinity” is also a triadic symbol and name, so the usage is not accidental.  Trinity will function as the feminine principle to Neo’s masculine principle, as they join to complete the alchemical mystical union in the trilogy of Matrix films.  Trinity here is not used here in the common Christian sense, it is meant in the sense of a gnostic feminine principle, sophia.

Morpheus mentioned as a terrorist sought by British Intelligence.

Agent Smith and his cronies quickly arrive and exemplify jurisdictional control over the local police: In terms of actual politics they represent the shadow intelligence establishment.  The Matrix will operate on one level as an allegory for this intelligence world.  The Agents are controlled by cold, calculating numeric logic, with no empathy or emotion.  Through an “informant” (Cypher), they had intercepted the transmission and are on the case of tracking down this “Neo.”  In the next scene, we see Neo and some interesting images appear on his computer screen in his apartment.  An image of “Morpheus,” said by “British Intelligence to be an international terrorist” on the run from authorities.  Given the hints at 9/11 that are in the film which premiered in 1999, we can surmise this was intentional as another key to unlocking the multiple layers of meaning and “programming.”  Morpheus is shown as wanted by Arab news sites like An-Nahar, giving the impression Morpheus is a bin Laden-esque “terrorist.”  On a deeper, esoteric level, the establishment was weaving into the narrative hints and clues to 9/11, especially with the infamous date on Neo’s file.

Morpheus listed by the An-Nahar News Agency, a Lebanese paper.

Neo is asleep listening to Massive Attack on his headphones, and the lyrics are “Feels like something I’ve done before….”  This will be meaningful later in the film, as the narrative the trilogy presents is one of cyclical history.  Neo is not the first “Neo,” but one among a series of avatars and Neos that had previously come before.  On his screen appears a sudden message telling him to wake up because the matrix has him.  This is “waking up” in the Buddhist sense of “enlightenment,” as the film will also be filled with ideas from far eastern philosophy.  Neo’s apartment is shown as “101,” the very image of binary code, and he is instructed to follow the “white rabbit,” a reference to Alice in Wonderland.  Alice in Wonderland is also a classic allegory for both the intelligence world, the conspiracy world, mind control and the psyche and its journey, as well as having…

Continue Reading At: JaysAnalysis.com
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Jay Dyer a writer and researcher from the Southern US with a B.A. in philosophy, his graduate work focused on the interplay of literary theory, espionage and philosophy. He is dedicated to investigating the deeper themes and messages found in our globalist pseudo-culture, illustrating the connections between philosophy, metaphysics, secret societies, Hollywood, psychological warfare and comparative religion. Jay is a regular contributor to the popular Intelligence Hub 21st Century Wire and the scholarly Soul of the East, as well as conducting numerous interviews with experts in fields ranging from espionage to history to economics. Jay’s work has appeared on the web’s top alternative media outlets: Activist Post, Red Ice, Waking Times, Rense, Icke and Infowars, as well as appearing on the Alex Jones Show. Jay has broken national and international news, numerous viral alt news stories, as well as surpassing 1 million views in its first 4 years.

 

Jay Dyer On Sunday Wire: Covert COINTEL Deception

Source: JaysAnalysis.com
Jay Dyer
August 9, 2016

This week’s edition of THE SUNDAY WIRE is on the road broadcasting LIVE from Austin, Texas. This week’s special guest host Hesher from ACR’s Boiler Room takes the helm to covering the audacious US and international news. In the first hour we’re joined by special guest and 21WIRE contributor, Jay Dyer, author of the new book, Esoteric Hollywood, to discuss the ‘Social Justice Warrior’ propaganda in Hollywood’s new Star Trek blockbuster release, and a deeper look at Tragedy and Hope, as well as the history and present-day manifestations of COINTEL PRO and controlled opposition in both US and European politics and deep state geopolitics.

Strap yourselves in and lower the blast shield – this is your brave new world…

http://www.jaysanalysis.com

http://www.21stcenturywire.com

CIA Ties To Hollywood On Verge Of Being Exposed

hollywood
Source: ActivistPost.com
Clarice Palmer
June 27, 2016

An amendment added to Congress’ annual intelligence spending bill may help the public gain a better idea of the U.S. government’s relationship with Hollywood.

According to VICE News, the ranking Democrat on the Senate Intelligence Committee, Senator Dianne Feinstein (D-CA), and committee Chairman Richard Burr (R-NC), included an amendment to S. 3017 that would require the Director of National Intelligence to submit reports detailing the relationship between the Central Intelligence Agency (CIA) agencies and Hollywood. It would also require 15 other agencies to disclose the nature of their relationships with the film industry. These reports would have to be presented annually to congressional oversight committees.

Between 2006 and 2011, VICE reported, the CIA’s Office of Public Affairs (OPA) had a role in at least 22 of the U.S. entertainment industry’s projects. Some of the productions listed by VICE included the films Argo and Zero Dark Thirty, television shows like Top Chef and Covert Affairs, and documentaries such as the History channel’s Air America and the BBC’s The Secret War on Terror. The book, The Devil’s Light, also had the help of the CIA.

Some of the most controversial findings regarding the relationship between OPA officials and Hollywood insiders were tied to the blockbuster, Zero Dark Thirty.

According to the redacted and previously classified December 2012 CIA report released by Judicial Watch, the CIA granted “‘secret level’ access to the makers of the movie Zero Dark Thirty.” According to VICE, “filmmakers Kathryn Bigelow and Mark Boal showered CIA officers involved in the operation with gifts and received unprecedented access, which included the disclosure of classified information to Bigelow and Boal by CIA director Leon Panetta.”

While these revealing facts shocked the world at the time of their release, the relationship between the CIA and the entertainment industry actually dates back to the 1950s.

According to an interview with Public Radio International, Tricia Jenkins, author of The CIA in Hollywood, says that the CIA “developed a think tank to fight communist ideology, which negotiated the rights to George Orwell’s ‘Animal Farm’ – getting a talking pig on the screen 20 years before ‘Charlotte’s Web.’” The agency pressed for “line changes in 1950s scripts to make black characters more dignified, and white characters more tolerant” in order to promote “an attractive image of America to a world picking sides in the Cold War.”

Continue Reading At: ActivistPost.com

Tron Legacy: Esoteric Analysis

[Editor’s Note]

This is a fascinating piece regarding Tron, by Jay Dyer.  In it he details many abstruse inner workings that aren’t known to most of the populace within the Tron movie.  Its really an intriguing read for those of you who are fans of the arts/pop culture.  It’s also quite in-depth too.

Notice the pyramidal structure of the black on bottom and top, from which light emanates.  This symbolizes the gnostic version of as above, so below – dualism.  It’s “Just a Game” because its an illusory world.

Source: JaysAnalysis.com
Jay Dyer
January 9, 2011

I hate to always harp on gnosticism, but it’s undeniably the recurrent theme of most sci fi and fantasy/cult films. Gnosticism is the ancient perennial tradition that descends from Egypt and (possibly) older civilizations. In its modern form, it comes to us from the Nag Hammadi documents recently discovered, whose tradition was passed down in the secret societies and occult orders, of which Freemasonry is a good example. I am not saying that Freemasonry is actually a lineage from Egypt, but that there is a similarity of doctrine that has come down through the ages.

By the first century, the gnostic traditions flourished, rivaling and challenging other sects, becoming a force of its own. To put it simply, gnosticism posits that the present creation is a subordinate, evil one, wherein evil is given a substantial existence as the created order itself. Religions such as Manichaeanism are perfect examples of this trend, where a dualism is sometimes posited between a “good” God who is far away and unknown, identified with thought or light, and an evil deity or demiurge, identified as the Creator of this world. In the time of the rise of Christianity in the first three centuries of the Church, the gnostics were the chief opponents of the God presented in the Law and prophets of the Israelites, and charged God with Himself being evil.  Texts such as the Hypostasis of the Archons and The Gospel of Thomas are prime examples.

The gnostics instead proffered that “Jesus” was thus a revolutionary reformer who tossed away all traditional concepts of Jewish theology, and brought in the new gnosis, or knowledge – the Gospel of salvation through enlightenment. It is to such patristic commentators like Irenaeus of Lyon and Tertullian of Carthage that we get an indepth glimpse into 2nd century gnosticism, from figures like Marcion.  But gnosticism is not just a reaction against the God of the Bible, it also shares many commonalities with ancient eastern religions like Hinduism and Buddhism, and thus exemplifies syncretism.  Themes such as pantheism and/or dualism, many gradations of archons, or gods or avatars that rule this kosmos, etc., all recur in gnosticism. In this regard, gnosticism is in many ways the inheritor of the ancient pagan religions, and particularly Egypt.  So with that said, we can now analyze the kind of symbolic scheme that is put forth as an image of our world as presented in Tron Legacy.

Daft Punk, who did the soundtrack and appears in the film, performs here atop the pyramid.

Central to gnosticism is the theme of redemption or salvation from this world through special knowledge, which constitutes the “gnosis.” Generally, this is knowledge that has been lost, and must be recovered, often symbolized in literature or film by some magical object or memory, etc. In Tron, Flynn’s (Jeff Bridges) son, Sam, must “save” his father from the “grid,” or matrix, where he has become enslaved, having more or less forgotten his family in the real world. Sam, of course brings to mind “Sammael,” another name for Satan in the biblical tradition, and this makes sense, given that Tron presents Sam Flynn as the savior of the feminine archetype, “Quorra.”  This also mirrors gnostic themes, where the feminine principle, the Pistis Sophia is one of the archons of gnostic salvation.  Wikimedia notes of Quorra:

Continue Reading At: JaysAnalysis.com

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Jay Dyer is a writer and researcher from the Southern US with a B.A. in philosophy, his graduate work focused on the interplay of literary theory, espionage and philosophy. He is dedicated to investigating the deeper themes and messages found in our globalist pseudo-culture, illustrating the connections between philosophy, metaphysics, secret societies, Hollywood, psychological warfare and comparative religion. Jay is a regular contributor to the popular Intelligence Hub 21st Century Wire and the scholarly Soul of the East, as well as conducting numerous interviews with experts in fields ranging from espionage to history to economics. Jay’s work has appeared on the web’s top alternative media outlets: Activist Post, Red Ice, Waking Times, Rense, Icke and Infowars, as well as appearing on the Alex Jones Show. Jay has broken national and international news, numerous viral alt news stories, as well as surpassing 1 million views in its first 4 years.