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Mind Control Symbolism in Russian Pop: Vintage’s “Mikkie”



On the Vigilant Citizen, we have shown time and time again that mind control symbolism is found in pop music acts. This disturbing trend is not, however, only confined to American artists. Mind control-related themes and symbols can now be found in pop music all across the globe, as a result of the globalization of popular culture. We will look at the themes exploited by one of Russia’s most important groups, Vintage, and explain their hidden meaning.

As seen in previous articles on The Vigilant Citizen, mind control symbolism is often found in the videos of young sexy pop stars who are on the rise. In most cases, the stars take on the role of the mind control victim in the videos, making the symbolism relating to it seem cool, sexy and desirable, while the idea of mind control is unconsciously planted in the minds of young people. Many videos depict rather vividly the harsh reality of being  “puppets of the industry”, to a point that it is all out in the open, but most viewers remain clueless because they can’t see past the thin veil of symbolism found in the videos.  This phenomenon is not only found in America, but in all parts of the world: in this case, the Russian pop group Vintage (Винтаж).

The group—Anna Pletnev, singer and composer Aleksey Romanov and dancer Svetlana Ivanov—released a single titled Mikkie, containing all of the aspects of the Illuminati agenda.  The themes of mind control, alter-personas, abuse, sexualization, and dehumanization can all be found in this video, as well as in some of their previous works. So, before we get to Mikkie, we will quickly look at two previous videos.

Previous Works

Since their debut in 2007, many of Vintage’s singles have contained some sort of commentary on social issues, like prostitution and abuse. References to mind control were also present, although the way those references were presented, the videos seemed to denounce it.

Loneliness of Love – Одиночество любви

This single portrays the singer Anna as a doll who is forced to live the life dictated her “handler”, played by a little girl.

Anna shown as a doll in a package. Mind control slaves are often portrayed as dolls or puppets as they are controlled by a “handler”

The little girl places a naked “action figure” next to Anna, a reference to sex forced on mind control slaves to gain privileges

The lyrics of the song also point toward the futility of conformity and of a life dictated by someone/something else. The best translation of the song I’ve found is probably not 100% accurate, but it is enough to convey the gist of the song. Here’s a particularly significant excerpt:

And after? After
we’ll press the button on the remote
And go to heaven easily and neatly
Curved mirrors
Well, those whom we love
we’ll never be with
Why we have forgotten
that we’re people

At the end of the video, Anna breaks the white ribbons holding her, representative of her mind-controlled state.

Sleepwalker Girls (Девочки-лунатики)

This song describes the harsh realities of a prostitute, as prostitution is a huge issue in Russia. Embedded in the video are symbols relating to mind control: prostitution, ritual abuse and slavery often go hand in hand in Eastern Europe.

Anna holding a doll to give to her daughter. The dolls looks like Anna, representative of her core persona (the real her) as her alter is the dissociative prostitute

Anna gets beaten by a Jon, who then throws money at her.

Broken mirror representative of her fractured personality, fractured life

At the end of the video, Anna is shown giving the doll to her daughter, showing that she went through all of that crap to give her things. The doll also represents Anna’s core persona, which she transmits to her daughter, hoping she will lead a better life.

New Album

The group’s new album, Sex (very subtle marketing), seems to be targeted to a younger crowd and the social commentary seem to have been replaced by outright Illuminati symbolism, on par with what is found in Western pop music.

Cover of the album Sex. Going past the fetishist theme of the cover, the blindfold also represents the “veil” in front of mind-controlled victims eye’s, while the candles allude to the ritualistic nature of sex with MK victims.


At face value, the song is a commentary on popular culture and  mass production. The authors also say it is a tribute to Michael Jackson. There is another very important issue described in this video: mind control. As seen in previous articles, Mickey Mouse (especially the Mickey Mouse hat) is often used as a code for mind control in popular culture. The involvement of Disney and Disney movies in mind control programming have been documented by Fritz Springmeier (you can download his books for free here).

Many of the recent Disney movies and cartoons are used in a two-fold manner:

  • desensitizing the majority of the population, using subliminals and neuro-linguistic programming
  • deliberately constructing specific triggers and keys for base programming of highly-impressionable MONARCH children.

– Ron Patton, Monarch Programming

This video makes full use of the Mickey Mouse = mind control code. Mikkie (Mikey Mouse) is a symbolic representation of the artist’s alter personality—the mind-controlled facade—programmed to be a shallow entertainer.

The video starts with a happy family running into Mikkie and finding its dismembered parts on the street. More on that later.

We are then taken to a Mikkie production factory, where entertainers are mass-produced.

The subject of control wakes up to be programmed. A close-up shot of her eye reveals that she had been “computerized” or “robotized”. Furthermore, the entire choreography and the mannerism of the singers and dancers are extremely robotic and mechanical, which puts an emphasis on the soulless, dehumanizing atmosphere of the setting.

Emphasis on the single eye and mouth shut reveals that the victim is subject to Illuminati mind control. The importance of the single eye is discussed many times in articles on this site.

The subject’s handlers, the ones accomplishing the programming wear monocles (c0vering one eye), a symbol of power and of Illuminati control.

In this scene, the subject seems to be giving her “essence” to her Mickey Mouse clones. Notice the “leopard” pattern on her body a reference to  “sex kitten” programming in mind control, also known as beta programming.

“This is the second Greek letter, and it represents the sexual models and sexual alters that the Programmers are creating. The primitive part of the brain is involved in this type of programming. […] Beta alters generally see themselves as cats.”
– Fritz Springmeier, Deeper Insights into the Illuminati Formula

Mickey Mouse is then taken out of the factory and into the “real world”. Mikkie becomes Anna (the singer) and she holds a lit candle in a scene that hints to her self-destructive nature.

It would be interesting to note at this point that Omega programming in mind control relates to self-mutilation and suicide, which causes the subject to effectively “self-destruct” on command or in particular situations.

OMEGA. A “self-destruct” form of programming, also known as “Code Green.” The corresponding behaviors include suicidal tendencies and/or self-mutilation. This program is generally activated when the victim/survivor begins therapy or interrogation and too much memory is being recovered.

– Ron Patton, Monarch Programming

Right after she symbolically lights herself on fire, the scene of the car hitting Mickey is shown again. On the street we only see Mickey’s “costume” (not Anna’s body) on the street. Is this an attempt by Anna to break free from her programming?

Mickey Mouse—Anna’s alter personality programmed to entertain the masses—is then shown dancing somewhere in Russia with everyday people. She is in her “entertainment mode”.

After the crowd is gone, we see Anna standing at the same bus stop, almost nude, seeming depressed and in pain. Even if her Mikkie persona is happy and cheerful, the “real Anna”, her core personality is sad, broken and in pain. And cold.

In Conclusion

Vintage is another example of the globalization of the symbols and themes found in the world’s pop music. Way beyond being the simple the result of a trend, the repeated and constant messages found in videos across the world reflect the presence of an effective agenda in global mass media.

Vintage’s last album, combining kiddie themes and music with overt sexuality and dehumanization, brings to the masses of Russia and Eastern Europe the themes the elite want the world-wide public to be exposed to, but with a “local flavor”. The same way McDonald’s adapts their menus to fit the local culture, Illuminati themes and symbols are communicated to the masses using local artists, who speak the local language and to whom people can relate. By slowly erasing the differences between cultures to instate a global, mass-consumption culture, the New World Order is not presented to the people through the voice of a stern dictator, but with the smiley face of Mickey Mouse.



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