MTV’s Video Music Awards give out “Moon Man” trophies to music artists who have had success during the previous year. But there is much more to it than shiny trophies. The VMAs are a celebration of the Illuminati industry, of those who push its agenda and a promotional tool to put the next generation of “initiates” into the spotlight.
The MTV Video Music Awards are considered to be a few hours of performances and award acceptance speeches mixed with a few shocking moments to generate publicity. But there is more to the award ceremony than meets the eye. This mega-media-event, broadcast around the world, serves several important purposes: First, it is a major promotional tool that allows a select group of artists to gain exposure and recognition while ignoring others; second, it is an almost ritualistic celebration of the Illuminati industry, spotlighting the artists who have pushed its agenda over the previous year. My article on the 2009 VMAs described the ritualistic and symbolic elements that were found throughout the show – there was a definite occult element underlying the show which reflected the mind state of the industry.
The 2011 VMAs arguably contained less occult ritualistic elements but was still a tightly choreographed show featuring a very select number of artists. These few actors took turns, performing, presenting and awarding each other Moon Men. In other words, the VMAs can be compared to a burlesque play where a few actors take turns appearing on stage to interact with each other. Sometimes, new characters are introduced while others are “killed off”.
Almost all of the artists who were recognized at the VMAs have been featured in some way on this site (Vigilant Citizen, in case you forgot), which is not surprising as most or all of their work pushes some part of the Illuminati agenda. The main actors of this show were: Lady Gaga (of course), Katy Perry, Jessie-J, Jay-Z, Kanye West, Nicki Minaj, Beyonce and Odd Future. Wearing crazy, outlandish costumes and taking on theatrical personas, many of the artists featured in the award were not themselves, but playing characters. In fact, the show began with a long speech by Lady Gaga playing the role of a greasy Italian dude from the 1950s.
Let’s look at the several “acts” of the 2011 VMA’s and their meaning in the context of the Illuminati industry.
Lady Gaga’s Alter Persona
The show opens with Gaga’s latest stunt: An male alter-ego that is a greasy annoying New York dude. Many of Gaga’s singles are accompanied with a complicated setup, including characters and theatrical props (remember the horns on her heads?) – all of which get exposure in several media outlets, including TV and magazines.
For her single Yoü And I, Gaga introduced Joe Calderone, a male alter-ego. Like most of Gaga’s other stunts, most people have absolutely no idea why Gaga did what she did. Why was she dressed as an Italian dude to sing a country-rock song? What’s the point? Like most of Gaga’s other stunts, the occult meaning of this whole charade can be found in the music video.
While the video could be the subject of an entire article, I can sum it up in two words: mind control. More specifically, it is about Monarch programming and the creation of alter-egos through the use of trauma-inducing techniques. In the video, Gaga is shown bound and tortured by a cruel handler who subjects her to the most common methods of mind control: Electroshock therapy, sexual abuse, the injection of drugs and physical torture. Yes, all of these things were portrayed in the video, along with the presence the several alter-egos created by the process. (If you have no idea what I am talking about, I suggest you read the article entitled Origins and Techniques of Monarch Mind Control).
So Lady Gaga, who is already an alter-persona of Stefanie Germanotta (the real person) has another level of alter-ego that is pretty much the exact opposite of Lady Gaga: Male, dressed in drab clothes, not glamorous, not famous, etc. In Calderone’s long speech at the beginning of the VMAs, he says that Gaga left him and that he wants to be reunited with her. In occult terms, the union of opposites is called the “Alchemical Wedding” and is often represented by the figure of Baphomet – an androgynous, goat-headed deity. The title Yoü And I represent the union of the two opposite personas, Gaga and Joe Calderone, and, since they are same person, this ultimately creates an androgynous entity, not unlike Baphomet. In Kabbalistic lore, androgyny is perceived as the highest level of occult achievement and the concept of duality is strongly instilled in mind control victims. In other words, the presence of Joe Calderone at the VMAs is a big tribute to mind control. A good way to start a show. But Gaga did not stop there. She committed to her persona and played the role of Calderone during the entire show.
Other Alter Personas
Lady Gaga’s alter-persona was heavily featured at the VMAs, but most of the artists that participated in the awards also incorporate alter personas in their acts.
Nicki Minaj is already a created alter persona, very different from the real person that is Onika Tanya Maraj. The odd, fashion-crazy, surgically-enhanced persona that is Minaj is a made-for-the-music-industry character created to become a star. On top of that alter, there is Roman Zolanski, a male alter-ego that appeared on some songs and that will probably be appearing a lot more in the future. Roman Zolanski is based on Roman Polanski, the movie producer who was charged with rape by use of drugs and lascivious act upon a child under 14 a few years ago.
Katy Perry was also all over the VMAs this year as one of the “main characters”. Her latest single titled Last Friday Night introduced Katy’s fans to her odd alter-ego: a nerdy 13-year-old girl.
To sum up the Last Friday Night video, the awkward teenager gets a make-over from Rebecca Black in order to look like a s--t, then gets drunk and has a menage à trois. Great message to girls between ages 10-14!
Every award show presents tributes to artists who had an outstanding career and to the greats who left this world. The VMAs are no exception but these tributes are becoming increasingly odd, insincere and dedicated to victims of the industry. In the article on the 2009 VMAs, I described the tribute to Michael Jackson, which was given by Madonna – someone who did not particularly “click” with MJ. The tribute also featured a weird video montage featuring him as a zombie – which is a strange way to honor a dead person.
The 2011 VMAs presented two tributes that were just as weird as they were almost mocking the artist in question.
Britney was the recipient of the Michael Jackson Video Vanguard Award for her “influence in music video and dance”… although she did not direct any of her videos nor devise any of her choreography … but let’s forget this detail. To emphasize the non-sincerity of the tribute and to make sure to point out that “this is all an act”, the award is presented by an imaginary character…Lady Gaga’s Joe Calderone. Britney, who is a true mind control victim of the industry and who has often shown the desire to leave it all, is given an award by an alter-ego that is basically a tribute to mind control.
The tribute then proceeds to show a mix of Britney’s most popular videos whose costumes and choreography were reproduced by young girls.
When Britney finally gets on stage to accept her award, an awkward Joe Calderone pretty much steals the show.
Upon receiving her award, instead of giving an acceptance speech and “having her moment”, Britney proceeds to … present Beyonce and goes on with Joe Calderone about how great she is. I am pretty sure that was scripted and forced on her, making this probably the most insincere tribute of all time. Or was it?
Having lost her life a few weeks prior to the awards, it was only fair that Amy Winehouse got a tribute to her great talent. However, as we have seen in the article entitled Amy Winehouse and Club 27, her death might have been the result of a ritual sacrifice and the tribute was at least as odd as the one for Michael Jackson, another great who died in strange circumstances.
Russell Brand was selected to honor Amy Winehouse. He alluded to her great voice but mostly talked about how she was a “crazy person, stinking of booze and wondering around London”. He then went on to say that she was afflicted with a “disease” that affect a lot of people, alcoholism and drug addiction, although no traces of drugs were found in Winehouse nor at her home at the time of the death. Why not focus on the human being and her accomplishments?
The tribute performance that followed featured several images of Amy Winehouse with one eye hidden, which, as readers of this site know, is a symbol of Illuminati control.
The First Couple and the Big Announcement
Like the last few VMA awards, Jay-Z and Beyonce were pretty much the King and Queen of the 2011 ceremonies. First, Jay-Z and Kanye West performed the first single from their album Watch the Throne. This album opens with a revealing song entitled No Church in the Wild (featuring Odd Future’s Frank Ocean). The song describes a philosophy that is akin to Aleister Crowley’s “Thelema”. Kanye West’s verse goes as follows:
Coke on her black skin made a stripe like a zebra
I call that jungle fever
You will not control the threesome
Just roll the weed up until I get me some
We formed a new religion
No sins as long as there’s permission
And deception is the only felony
So never f-ck nobody wit’out tellin’ me
Aleister Crowley’s motto was “Do What Thou Wilt” which seems to be echoed in Kanye saying “We formed a new religions/No sins as long as there’s permission”. Crowley was also known to have extensively experimented with drugs and sexuality in a spiritual context – another concept reflected by his verse. Later in the song, Kanye appears to be referring to relations with a Monarch sex kitten.
Thinkin’ ’bout the girl in all-leopard
Who was rubbin’ the wood like Kiki Shepard
Two tattooes, one read “No Apologies”
The other said “Love is cursed by monogamy”
Proving the importance of the couple, this silent pregnancy announcement shattered all previous Twitter records with more than 8,000 tweets a second. This kind of attention reminded me of Jay-Z’s almost prophetic verse in the song New Day, from the album that was released about two weeks prior to the VMAs:
Sorry junior, I already ruined ya
‘Cause you ain’t even alive, paparazzi pursuin’ ya
Sins of a father make yo’ life ten times harder
I just wanna take ya to a barber
Bondin’ on charters, all the s--t that I never did
Teach ya good values, so you cherish it
Took me 26 years to find my path
My only job is cuttin’ the time in half
So at 13 we’ll have our first drink together
I would never speak ill of an unborn child. I will just hope that he/she won’t become another Willow Smith.
Presenting the New Generation
The VMAs do not only celebrate current Illuminati artists, it “initiates” a new generation of artists who will carry the Illuminati torch into the future. A couple of new acts stood out in the 2011 VMAs.
Jessie J, who already released a few symbolic music videos (see the article entitled Jessie J’s “Price Tag”: It’s Not About Money, It’s About Mind Control), enjoyed great exposure during that night by occupying the Throne, where she performed about a dozen times.
The VMAs are not simply a show designed to give out awards. They define who’s hot and who’s not. They celebrate in a ritualistic matter the type of “creativity” that is appreciated by the industry – superficial shock value. As we have seen in this article, almost all of the artists who obtained exposure during the VMAs have released albums and videos that were directly in line with the Illuminati agenda which includes: the promotion of mind control, self-destruction, materialism, superficiality, the sexualization of children and the demeaning of religions. Pushing these kinds of messages through lyrics and symbols is a requirement to be in the “good graces” of the industry – which is a giant, controlling machine, that works with codes and rituals and that heavily calculates and filters the messages sent to the masses.
Although many of the artists featured on the show are “eccentric” and “original”, the core message remains the same and is remarkably consistent, regardless of the musical genre. Aspiring artists who dream to obtain this level of celebrity, understand that this is the “mold to fit” in order to obtain success. The VMAs are an artificial creation that artificially promotes artists to create artificial hype. It is a fake show, filled with fake personas who sing with fake voices, wearing fake wigs and cracking fake smiles, giving fake tributes to other fakes who have been fake longer than them. Are there still real, authentic artists who sing from the heart and do not push “industry-approved” messages? Yes, but you won’t find them watching the VMAs. So turn off that TV and see what the real world has to offer.
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