Kerli’s “Walking on Air” video is definitively a creepy one. The eerily dark atmosphere of the video is, however, not a simple question of aesthetics. It symbolically depicts the disturbing world of mind control experiments.
Kerli is an Estonian artist who was discovered by LA Reid and signed with Island Def Jam Music Group in 2006. She has a distinctive creepy-gothic persona, which makes her a quite original artist. While many fans are charmed by the twisted world of Kerli, those who are aware of the occult meaning found in her imagery can easily detect its connections with Monarch programming. As it is the case for many artists described on this site, Kerli’s photos and videos contain numerous hints relating to this practice and Walking on Air is the most blatant example.
Those who are not aware of the existence of Mind Control should first look into the research of the likes of Fritz Springmeier, whose work describes the origins, the purpose and the symbolism associated with mind control and its usage in the military and the entertainment industry. In a nutshell, Monarch programming involves making slaves go through dehumanizing traumas in order to force the fragmentation of their personality and the creation of an “alter”, which can be programmed by the handlers. The subjects are constantly monitored, drugged and abused. They have to submit to sadistic mind games and are taught that evil is good, pain is pleasure and so on. Here is a quick overview of Monarch programming by researcher Roger Patton.
Definition and Description
“The name MONARCH is not necessarily defined within the context of royal nobility, but rather refers to the monarch butterfly. 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. Occultic symbolism may give additional insight into the true meaning. Psyche is the word for both “soul” and “butterfly” coming from the belief that human souls become butterflies while searching for a new reincarnation.
Some ancient mystical groups, such as the Gnostics, saw the butterfly as a symbol of corrupt flesh. The “Angel of Death” (remember Mengele?) in Gnostic art works was portrayed crushing the butterfly. A marionette is a puppet that is attached to strings and is controlled by the puppet master, hence MONARCH programming is also referred to as the “Marionette Syndrome.” “Imperial Conditioning” is another term used, while some mental health therapists know it as “Conditioned Stimulus Response Sequences.” Project MONARCH could be best described as a form of structured dissociation and occultic integration, carried out in order to compartmentalize the mind into multiple personalities within a systematic framework. During this process, a Satanic ritual, usually including Cabalistic mysticism, is performed with the purpose of attaching a particular demon or group of demons to the corresponding alter(s). Of course, most skeptics would view this as simply a means to enhance trauma within the victim, negating any irrational belief that demonic possession actually occurs.”
Alters and Triggers
Another way of examining this convoluted victimization of body and soul is by looking at it as a complex computer program: A file (alter) is created through trauma, repetition and reinforcement. In order to activate (trigger) the file, a specific access code or password (cue or command) is required. The victim/survivor is called a “slave” by the programmer/handler, who in turn is perceived as “master” or “god.” About 75% are female, since they possess a higher tolerance for pain and tend to dissociate easier than males. Subjects are used mainly for cover operations, prostitution and pornography; involvement in the entertainment industry is notable.
A former military officer connected to the DIA, told this writer, “In the ‘big picture’ these people [MONARCH victims] are in all walks of life, from the bum on the street to the white-collar guy”. In corroboration, a retired CIA agent vaguely discussed the use of such personnel to be used as “plants” or “chameleons” for the purpose of infiltrating a designated group, gathering information and/or injecting an ulterior agenda. There are an inordinate amount of alters in the victim/survivor with numerous back-up programs, mirrors and shadows. A division of light-side (good) and dark-side (bad) alters are interwoven in the mind and rotate on an axis. One of the main internal structures, (of which their are many) within the system is shaped like a double-helix, consisting of seven levels. Each system has an internal programmer which oversees the “gatekeeper” (demons?) who grant or deny entry into the different rooms. A few of the internal images predominately seen by victims/survivors are trees, the Cabalistic “Tree of Life,” with adjoining root systems, infinity loops, ancient symbols and letters, spider webs, mirrors or glass shattering, masks, castles, mazes, demons/monsters/aliens, sea shells, butterflies, snakes, ribbons, bows, flowers, hour glasses, clocks, robots, chain-of-command diagrams and/or schematics of computer circuitry boards.
Some Kerli Pics
Many images relating to Kerli give a sense of “broken childhood” and the “loss of innocence”, which is a reality of mind control victims. The main image found in Kerli’s website contains numerous references to Monarch Programming.
There are two Kerli’s in this image. The one in the background is the “old Kerli”, dressed in black lace, symbolic of submission (to her handlers). She is looking back through her mirror and is apparently crying. The Kerli in the foreground is the “new Kerli”, the alter-personality holding a stitched up white rabbit. The stitches allude to the fact that the rabbit was once torn apart, an image of the fragmented mental state of Kerli. In occult symbolism, white rabbits lead the subjects to an alternate reality. The White Rabbit of Alice in Wonderland, a fairy tale commonly used in Mind Control programming, leads Alice through the Looking Glass. In The Matrix, Neo is told to “follow the white rabbit” in order to discover the Matrix.
The next image might ring a bell for regular readers of this site. Kerli is surrounded by creepy toys, again referring to broken childhood and mind control. Her arms are symbolically placed in references to the hermetic axiom “As Above So Below”, as depicted in Eliphas Levi’s depiction of Baphomet.
Kerli’s bio on Myspace seems to describe symptoms felt by mind control victims.
I cry a lot. Equally because of happiness and sadness.
I have at least 5 different personalities.
Crowds make me anxious unless I’m on stage.
I hear colors, I see sound
I believe in fairies.
I change my mind in every five minutes.
If I can’t write music for more than a couple of days, I loose it.
I make things.
I almost never feel like I belong. I am very uncomfortable having a human experience.
Walking On Air Video
At face value, the song is about finding happiness by believing in oneself and following one’s dreams. However, a deeper look into the video’s symbolism reveals another layer of interpretation relating to mind control. The title of the song itself refers to the feeling of light-headedness felt by mind control slaves during their trauma-based therapies. The first verse asks you what this song is all about:
There’s a little creepy house in a little creepy place
Little creepy town in a little creepy world
Little creepy girl with her little creepy face
Saying funny things that you have never heard
Do you know what it’s all about
Are you brave enough to figure out
Know that you could set your world on fire
If you are strong enough to leave your doubts
At the beginning of the video, a strange man (representative of her mind control handler) gives Kerli a gift:
It is a Kerli doll, which represents her alter personality. She brings it inside the house, which symbolically represents Kerli’s inner-consciousness.
Inside the house, Kerli and her alter personality are monitored by an “All-Seeing Eye” through a TV monitor. The fact that she is being watched by the TV (rather than her watching it) is representative of the mind-bending reversals found in mind control.
Then Kerli activates the ceiling fan and her whole world starts spinning, giving the same sensation felt by mind control slaves during traumatic experiences.
During electroshock therapy, mind control slaves are encouraged to “go to happy place” or to “go over the rainbow” in order to escape the unbearable pain. The lyrics of the chorus convey the same message.
Believe it and you’ll be walking on air
Go fly so high and you’ll be walking on air
You feel this unless you kill this
Go on and you’re forgiven
I knew that I could feel that
I feel like I am walking on air
The second scene is also highly symbolic.
Kerli steps out from the wall into the kitchen. There is a total blur between reality and fiction. The bricked windows convey a sense of imprisonment and isolation. Her only escape is through mental escapism. Alice In Wonderland-esque reversals are found everywhere: snow emerging from her umbrella, cold oven, and hot fridge.
In the third scene, Kerli is lying on a rocky bed, a play on the “pain is pleasure” theme in mind control.
The tear drops on Kerli’s face (symbolic of her pain) turn into butterflies. The transformation is taking place. Kerli’s handler than appears inside her mirror and orders her to go “through the looking glass”, another reference to Alice in Wonderland.
Through the mirror, the transformation has been completed.
The doll, Kerli’s alter, has reached maturity and is now in control of Kerli’s core personality. She has become the puppet of her programmed alter, which can be triggered at will by her handler.
Kerli is “freed” and released back into the world.
She however quickly realizes that she is (and probably always will be) bound by her alter personality.
Although Kerli is not yet a big artist in the Americas, you will most probably hear more of her soon. She will be featured in two songs on the Alice in Wonderland soundtrack (how appropriate) and she is working on a new album. After reading this article, the logical questions are: Is Kerli an actual mind control victim, is she forced to incorporate those symbols into her act or is she willingly tackling those issues? Those questions are rather hard to answer. However, if we look at the music industry as a whole and the contents of recent music videos, we can conclude that imagery relating to mind control is becoming common. Other articles on this site have analyzed the same themes exploited by Lady Gaga, Rihanna, Beyonce and others. Different artists are used to propagate the same symbolism to different crowds. Since her signing with Def Jam, Kerli’s love of creepy and twisted imagery (which can be beautiful in itself) has been infused with Monarch programming symbolism, thus making her another “puppet with no strings” in the music industry.