Posts Tagged ‘k-pop’

K-Pop Star Jonghyun Found Dead at 27 of Apparent Suicide

Monday, December 18th, 2017

Jonghyun, the lead singer of the popular K-Pop group SHINee, sent troubling text messages to his sister shortly before he was found dead in Seoul.

Update: Added Kim’s final letter.

Kim Jong-Hyun, better known by his stage name Jonghyun, was found unconscious in a residential hotel in the upscale Gangnam district of Seoul on December 18th. He was later pronounced dead at a nearby hospital. Police rushed to Jonghyun’s apartment after receiving an emergency call from his sister stating that he sent a series of troubling text messages.

According to local reports, Jonghyun’s final message to his sister was: “It’s been too hard. Please send me off. Tell everyone I’ve had a hard time. This is my last goodbye.”

Investigators found coal briquettes burnt in a frying pan inside Kim’s apartment, leading them to believe that he died from carbon monoxide intoxication.

Jonghyun was a prominent figure in K-Pop. He was the lead singer of the popular group SHINee (who were dubbed the “princes of K-Pop”) for over a decade. Jonghyun then launched a solo career in 2015 and published a book entitled Skeleton Flower. Kim’s last public appearance was at his solo concert named “Inspired” on Dec. 10 in Seoul.

In 2010, I’ve published an article about SHINee’s video Lucifer which indicated that K-Pop was infiltrated by the agenda of the occult elite. The song described the singers being “under the spell of Lucifer”. A line from the song aptly described the fate of K-Pop stars stuck in an oppressive industry:

I feel like I’ve become a clown trapped in a glass castle

Kim was made to do the one-eye sign throughout his career, indicating that he was at the service of the occult elite. Here he is on the cover of OhBoy! magazine in 2016.

Jonghyun and his entire former group SHINee doing the one-eye sign.

Jonghyun was signed with SM Entertainment, a Korean company that was often accused of abusing and exploiting K-Pop artists (read my article about K-Pop group Red Velvet for more details). SM Entertainment released a statement saying:

“This is SM Entertainment. We are sorry to be the bearer of such tragic, heartbreaking news. On December 18th, SHINee’s Jonghyun left us very suddenly. He was discovered unconscious at a residence in Cheongdam-dong, Seoul and was rushed to a nearby hospital but was pronounced dead. Our sadness cannot compare to the pain of his family, who had to say goodbye to a son and a brother, but we have spent a long time with him, and the SHINee members along with the SM Entertainment staff are all in deep mourning and shock. Jonghyun loved music more than anybody else and he was an artist who did everything to perform his absolute best on stage.

It breaks our heart to have to bring this news to fans who loved Jonghyun so much. ‘Please refrain from reporting on rumours and guesswork so the family of the deceased can honour him in peace. ‘As per the wish of the family, the funeral will be held quietly with his relatives and company colleagues.”
– Metro, Jonghyun’s talent agency releases emotional statement as SHINee star dies aged 27

Jonghyun is one of several South Korean stars who took their lives at a young age. In 2009, actress Jang Ja-Yeon killed herself by hanging. She left a suicide note explaining how she was beaten and forced to entertain and have sex with several program directors, CEOs and media executives. Several other celebrities committed suicide including singer and actor Park Yong Ha, model Daul Kim and actress Jeong Da Bin.

Jonghyun’s death at age 27 makes him the latest addition to the infamous 27 Club, the group of late singers who died at the young age of 27. The 27 Club includes Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Amy Winehouse. Nearly every one of them died in bizarre circumstances.

The Final Letter

Nine9 posted Kim’s “final letter” where he explains, in sometimes enigmatic words, his dark mental state. In the letter, Kim sometimes appears to address a specific person, even blaming them for his depression. Who is that person?

I’m broken on the inside.

The depression that slowly gnawed away at me eventually devoured me.

I couldn’t overcome it.

I hated myself. I resolved to hold on to memories and shouted at myself to come to my senses, but there was no answer.

If there is no way to relieve stifling breath, it’s better to just stop.

I asked who can be responsible for me.

It’s only you.

I was utterly alone.

It’s easy to say you’re going to end things.

It’s hard to actually end things.

I lived with that difficulty this whole time.

You told me that I wanted to escape.

That’s right. I wanted to escape.

From me.

From you.

You asked who is over there. I said it was me. I said it was me again. And I said it was me again.

I asked why I keep forgetting my memories. You told me it was because of my personality. I see. I see that everything is my fault in the end.

I hoped that people would notice but nobody knew. You never met me so of course you would not know I was there.

You asked why I live. Just because. Just because. Everyone just lives just because.

If you ask why people die, they would probably say it’s because they’re exhausted.

I suffered and agonized about it. I never learned how to turn this pain into happiness.

Pain is just pain.

I tried to push myself past it.

Why? Why am I keeping myself from putting an end to it all?

I was told to search for the reason why it hurts.

I know all too well. I’m hurting because of me. It’s all my fault, because I was born this way.

Doctor, is this what you wanted to hear?

No. I didn’t do anything wrong.

When you told me in that calm voice that it’s because of my personality, I thought how easy it must be to be a doctor.

It’s almost fascinating, that it hurts this much. People that have it harder than me seem to get along just fine. People weaker than me get along just fine. But that must not be true. Among the people in this world, no one has it harder than me, and no one is weaker than me.

But I still tried to live.

I asked myself why I had to do so hundreds of times, and it was never for me. It was for you.

I wanted to do something for me.

Please stop telling me things you don’t understand.

You tell me to figure out why I’m having a hard time. I told you several times why. Am I not allowed to be this sad just for those reasons? Does it have to be more specific and dramatic? Do I need to have better reasons?

I already told you. Were you even listening? Things you can overcome don’t remain as scars.

I guess I was not meant to confront the world.

I guess I was not meant to lead a life in the public eye.

That’s why it was hard. Confronting the world, and being in the public eye. Why did I make those decisions. It’s ridiculous.

It’s great that I even made it this far.

What more can I say. Just tell me I did well.

Tell me I did well enough and that I went through a lot.

Even if you can’t smile while sending me off, don’t say it’s my fault.

You did well.

You really went through a lot.

Goodbye.

“Peek-a-boo” by Red Velvet: Why Do Men Keep Getting Killed in Music Videos?

Wednesday, December 6th, 2017

In Peek-a-boo, members of the group Red Velvet kill a pizza delivery boy as part of an occult ritual. It is the ultimate proof that K-Pop is completely sold out to the occult elite.

Red Velvet is the name of a delicious cake, but it is also the name of a K-Pop girl band that is extremely popular in Asia. The group’s video Peek-a-Boo reads as an Occult-Elite 101 introductory course and it ends with the death of a random guy for no apparent reason. The video is a perfect continuation of a disturbing trend seen across pop culture: The killing of men by female stars. Why is murder being celebrated in pop videos aimed at young people?

One thing is for sure, the members of Red Velvet are not making the decisions involving their careers. And they’re not directing any videos.

Indeed, Red Velvet is signed with the notorious South Korean label SM Entertainment, which has made the news several times for subjecting “idols” (that’s how these performers are they’re called in Korea) to “slave contracts” and mistreatment.

SM Entertainment, one of the largest Korean music labels, has had a series of legal challenges to its contractual policies. In 2009, former Super Junior member Han Geng claimed that the company forced him to do things he didn’t want to do under threat of fines if he disobeyed and denied him sick leave when he developed gastritis and kidney problems. (…)

In 2012, EXO-M’s leader Kris filed a lawsuit to get his contract annulled due to the company’s neglect of his opinion and health: “The company has treated me like a machine part or as an object of control rather than presenting a vision as an entertainer.”
– ListVerse, 10 Horrifying Realities From The World Of Asian Pop Music

While K-Pop songs are often cute and upbeat, the behind-the-scenes of this world is extremely sinister. The entire K-Pop system is based on the recruitment and exploitation of young, talented individuals who are subjected to a military-style training program to turn them into slaves.

According to one Singaporean woman who was picked out at a mass audition by a Korean talent scouting firm, trainees are expected to work 14-hour days to practice gym, dance, swimming, and singing. Breakfast is limited to low-fat biscuits, bananas, and lettuce. Chicken breast and salad are served for dinner, and no water is allowed after 7:00 PM to prevent “bloatedness.” Trainees are accompanied into the bathroom by a minder and made to wear sunglasses at all times. One part of the process of becoming a K-pop is extensive plastic surgery, which is so common in the K-pop industry that an entire website exists documenting before and after shots of idols’ surgical procedures.
– Ibid.

And that is only the beginning. Those who go through this ordeal, especially women, are often turned into sex slaves (Beta Kittens).

Female trainees are traded by brokers and are allegedly brought to bars and forced to engage in sexual work to get ahead, even if they are still minors. One ex-trainee claimed in an interview that the going rate for a “meeting” with a female trainee was $220, while very young trainees, or those signed with a prominent label, cost between $700-900.

In 2010, Taiwanese singer Estrella Lin claimed that when she was a member of girl group 3EP Beauties, her agency bartered her body to potential investors. She said this is an open secret throughout the Korean entertainment industry, and actresses and singers are expected or forced to give sexual services in order to get advancement opportunities. In 2002, Jang Seok-woo, CEO of Open World Entertainment, was arrested for not only sexually abusing female trainees, but encouraging male idols in his employ to do the same. Aphrodisiac substances were administered to trainees, some of whom were underage.
– Ibid.

As usual, these stories are only the tip of the iceberg. As seen in my several other articles about K-Pop and J-Pop, the entire system is drenched in Monarch programming and occult rituals.

Red Velvet’s Peek-a-boo is another proof of the sad truth about K-Pop: A group of Beta kittens who dance to the occult elite’s agenda and symbolism.

A Red Velvet promo pic.

Let’s look at the video.

Peek-a-Boooo

Why am I booing? Because the message behind the song is toxic.

The video begins by setting an “occult ritual” vibe to the story.

The girls of the group look up at a giant ‘supermoon’ in the sky.

In all occult circles, it is widely established that spells, rituals, and sacrifices yield the most potency during a full moon.

For the rituals that require the most potent and powerful magick, the fullest phase of the moon is most appropriate. (…) The full moon is the point when the moon reflects all light from the sun back to the earth. It is the most potent time of the lunar cycle.
– Occult100, Moon Phases

Under the same moon, is a pizza delivery boy who is about to be the subject of a ritual sacrifice.

We then see the girls “preparing” for the blood sacrifice – and they’re dressed for the occasion.

The girls are all dressed in red. As stated in previous articles, red is the color of blood sacrifice. For some reason, the girls are asleep (or drugged).

Before killing the guy, the girls feel the need to almost kill each other. Why? Because K-Pop idols are interchangeable pawns.

This girl is about to get her throat slit by her bandmate. Why? Because self-destruction is cool now.

The girls then practice shooting arrows at this girl holding an apple.

The same William-Tell-inspired scene (where an expert marksman shoots an apple placed on a child’s head) is echoed in another K-Pop video: Ladies’ Code Kiss Kiss.

In Kiss Kiss, singer EunB gets arrows shot at her.

Bizarre fact, EunB died in a car accident after the release of that video (read my article explaining how Kiss Kiss eerily foreshadowed the death of 2 members of the group Ladies’ Code).

Other than nearly killing each other, the girls of Red Velvet also have a bizarre obsession with pizza.

The girls place jewels on a pizza. But why? It seems that “pizza” actually means something else in this video.

What does this all mean? The answer is in the signs.

The girls do a prolonged one-eye sign indicating that this video contains codes and symbols of the occult elite.

They also do it outside to make sure you understand that they’re slaves of the elite.

When the pizza delivery boy arrives, the ritual begins.

The boy is placed on an “altar” and is surrounded by candles. The girls circle around him in a ritualistic matter.

The guy tries to run away and the girls find it very funny.

The girls run past a “trophy room” where are proudly displayed the shirts of past delivery boys who were sacrificed by the girls. RIP delivery boys.

One of the girls takes the delivery boy’s hand, making him believe that she will help him escape.

Outside, the guy tries to call for help but the phone doesn’t work. On the booth is a poster saying “Missing Delivery Boys” with the picture of dozens of boys.

Therefore, we are to understand that Red Velvet has killed all of the boys on that poster. They’re, like, serial killers. The boys are still considered “missing” meaning that they’ve never been found and Red Velvet are above suspicion … even though they had to call pizza places and give their address to get pizza delivered. It doesn’t make sense. Any detective would have solved this case in about 35 seconds. Unless these rituals are protected by the elite, like they often are.

So, did this pizza boy make it out alive? Nope.

The video ends with the delivery boy’s shirt inside a display case. He was murdered by the girls whose song we’re listening to. Let’s go buy their album!

The video ends with a murder. That’s it. No twist, no lesson, no meaning. Just an innocent guy who got lured into the house of evil K-Pop witches and got murdered in a ritualistic fashion. Considering that most K-Pop fans are very young, what the heck?

The video is part of a wider, and disturbing, trend: The killing of men by female singers in music videos.

Why Are Men Being Killed in Videos?

Here are some examples of the music industry celebrating female stars killing men.

Taylor Swift’s performance at the 2015 AMAs was about her killing a guy with a poisoned apple.

We then see all of the men she previously killed in a dualistic hallway. Then everybody in the crowd gave Swift a standing ovation.

In Better Have My Money, Rihanna ties up a guy and stabs the crap out of him.

The video ends with her all bloody. That’s it. Now buy her album.

In Fergie’s creepy video Love is Blind, she kills 4 men. Here, she stabs a dude in the neck with a broken bottle. The reason? He was a slob. Killing him was indeed the only option in that situation.

She then turns the guy’s severed head and other men’s limbs into a snazzy coat hanger. So cool.

Some might rationalize these videos by claiming that they’re about “strong women” and “feminism”. At the risk of stating the obvious, the violent murder of a person is not “feminism”, it is the violent murder of a person.

In Conclusion

Red Velvet’s Peek-A-Boo has no “moral of the story”. The girls ritualistically kill innocent men, they look fabulous while doing it, and, ultimately, they get away with it. All the while, they do all kinds of one-eye signs to highlight the fact that they’re industry slaves following the script that was given to them by their superiors.

As established in my previous articles, K-Pop is 100% on par with the occult elite’s agenda. The same debasing, mind-corrupting messages that are pushed on young people who listen to Western pop are promoted in Asia as well.

While feminism used to be about equality between the sexes, it is currently being steered towards anger, hatred, and the lust for the destruction. Is this the path to follow to become a better, more spiritual, and enlightened person? Of course not. It is a path towards the exact opposite. And that’s what they want. They want a society filled with petulant, immature, irrational and self-centered children … who are entertained by playing peek-a-boo.

Does Ladies’ Code “Galaxy” Celebrate the Death of Two of the Group’s Members?

Thursday, April 21st, 2016

The K-Pop group Ladies’ Code was hit with tragedy in 2014 when two of the five members of the group lost their lives in a car accident. “Galaxy”, the first video made with the remaining three members, is rather strange …because it is all about celebrating the number three.

K-Pop (Korean Pop) is basically the result of the occult elite implementing its twisted music industry agenda in Asia, complete with its symbolism, obsession with mind control and even dark rituals. Behind this is a particularly exploitative entertainment industry, one that is riddled with accusations of mental, physical and sexual abuse. In 2009, a Korean actress even revealed that she was being used as a sex slave (and then she committed suicide).

While there is no shortage of Illuminati-laced content in K-Pop (see my previous articles on the subject), the case of Ladies’ Code is particularly dark and enigmatic. The video that preceded the death of members RiSe and EunB was astonishingly prophetic, while the video following the tragedy is eerily celebratory. Let’s look at the strange course of the group and the symbolic meaning of the new video, Galaxy, by Ladies’ Code.

Clearly Controlled

In my first article about Ladies’ Code (written one year before the fatal car accident), I explained how the video Hate You was a non-stop compilation of mind control symbolism. The video indeed portrayed the group members as MK slaves using classic Monarch mind control symbolism. Here are some examples.

ladies13

The video contained symbolic images screaming out mind control such as this one: A girl trapped in a room, counting days like a prisoner and surrounded by dolls, which represent multiple personas. Butterflies quickly flash on screen – a reference to Monarch mind control.

Litterally bound the her handler.

An MK slave literally bound to her handler. Just one of the countless MK-inspired “tableaux” in the video.

On September 3, 2014, the group was involved in a violent car accident that took the lives of members RiSe and EunB.

RiSe and Eunb's memorials.

RiSe and Eunb’s memorials.

The accident occurred right after the group released the single Kiss Kiss. And, as I explained in my article Was the Death of K-POP Stars EunB and RiSe Foreshadowed in Their Last Video?, that video was strangely prophetic (I also explain the mysterious circumstances surrounding the accident).

In the video, members of the group visit a dead guy in a casket. When EunB approaches that guy, he gets up and kisses her. She therefore got a litteral kiss of death. She lost her life one month after the release of that video.

In the video, members of the group visit a dead guy in a casket. When EunB approaches that guy, he gets up and kisses her. She received a literal kiss of death.

We later see her being the target of shots while she is doing the One-Eye sign. A reference to being a sacrifice for the elite?

We later see her as a target while she is doing the One-Eye sign. Pure Illuminati sacrifice imagery. She died only a month after the release of this video.

RiSe (the other member who died from the car crash) kisses a poisonous frog.

RiSe (the other member who died from the car crash) kisses a yellow frog with black dots.

In another scene, we learn that black dots on yelllow means poison and death. RiSe therefore litterally kissed death.

We learn that black dots on yellow means death. Therefore, RiSe also kissed death. The name of the song? Kiss Kiss.

We later see her strapped to a chair while being rolled towards a wall. RiSe died after the van crashed into a wall.

We later see her strapped to a chair while rolling towards a wall. RiSe died after a van crashed into a wall.

One could argue that these predictions are actually the result of an unfortunate coincidence. While this is possible, Galaxy, the comeback video of the remaining three members, only adds to the creepiness.

MYST3RY

After the death of EunB and RiSe, the group became a trio – a group with 3 members. Coincidentally, the first album released by that trio is all about the number 3. The 3-theme begins with the name of the album, Myst3ry and the album contains 3 songs.

The cover of the album features the girls wearing dualistic patterns. The group also has a new logo: A tri-dimensional triangular shape that clearly evokes the number three. The title of the album also contains the number 3.

The cover of the album features the group’s new logo: A tri-dimensional (3) triangular (3 sides) shape. The title of the album also contains a reversed number 3.

The CD booklet contains cryptic images and words such as "Here Glows the Dark Universe". Is this a reference to the dark, shady world of the occult elite?

The CD booklet contains cryptic images and words such as “Here Glows the Dark Universe”. Is this a reference to the dark, shady world of the occult elite?

In another page of the booklet, we see the trigger of a revolver being pulled by a lab tool. Those who "pulled the trigger" on the sacrifice did not touch the trigger themselves.

In another page of the booklet, we see the trigger of a revolver being pulled by a lab tool. Those who “pulled the trigger” on the sacrifice did not touch the trigger themselves.

The first video for the album, Galaxy, focuses on the number 3 even more heavily, and the result is rather disturbing. The video features the remaining three members of the group – looking rather depressed – in a variety of scenes that keep reminding them that two of them are dead and that there are only three of them left. It is as if the group’s handlers are mockingly placing them in symbolic scenes celebrating the death of their friends.

One could argue that the girls are expressing, in their own artistic way, their grief and whatnot. K-Pop (and most pop music) however does not work that way. Artists have little to no say on the contents of their work. They perform what they are told to perform and that’s about it.

Not unlike the group’s previous videos, there is a strange, unhealthy vibe going on.

The video begins with the members playing three-player chess on a triangular board.

The video begins with the members playing three-player chess on a triangular board.

Right from the start, we see the girls forced to face the fact that there are only three of them left. The triangular board game invokes the idea that there is no space for anybody else.

Later in the video, we see a red King being knocked over on the dualistic (black and white) board. In occult symbolism, this represents ritual sacrifice.

Later in the video, we see a red King being knocked over on the dualistic (light and dark) board. In occult symbolism, this represents ritual sacrifice.

The same exact color codes and symbolism is found on Michael Jackson's album cover Blood on the Floor. From the name of the album, to the strange symbolism, it is all about ritual sacrifice. Note that the black strap on his arm is used to signify mourning.

The same color codes and symbolism are found on Michael Jackson’s album cover ‘Blood on the Dance Floor’. From the name of the album to the occult symbolism, this album art was all about ritual sacrifice. Bonus fact: the black strap on his arm signifies mourning.

To make sure you understand that Galaxy is about Illuminati symbolism, the video features two clear One-Eye signs.

Two quick One-Eye signs lets the viewers know that there is a second, occult meaning to this video.

Two quick One-Eye signs let the viewers know that there is a second, occult meaning to this video.

Again.

Again.

The rest of the video is centered around showing objects in groups of three – including the singers themselves.

Three scissors.

Three scissors.

Three cubes with the number 3 facing up.

Three cubes with the number 3 facing up.

There are many other occurrences of the number three throughout the video. One, in particular, is rather disturbing.

In this choreography scene, on the three group members stand up while two of them remain bowed down. Is this a veiled reference to the two "fallen members"?

In this choreography scene, in front of a giant triangle, the three members of Ladies’ Code stand up while two dancers remain bowed down. Is this a reference to the two fallen members?

Throughout the video, the girls are waiting for a call from a phone that can only dial the number 3.

Forming a triangle around the phone, the girls eagerly await a phone call.

Forming a triangle around the phone, the girls wait for a call.

The fact that the phone can only dial one number is an apt representation of the living conditions of industry slaves. Cut off from the world, these artists are thoroughly managed by their handlers, who exploit them to exhaustion and force them to perform in videos depicting their own servitude. Who can these slaves call when they need help? The number 3 and that’s about it.

When the phone finally rings, the girls pick up and then leave swiftly. Maybe their handlers called them.

In Conclusion

After releasing the videos Hate You (about Monarch mind control) and Kiss Kiss (foretelling the death of two of the group’s members), Ladies’ Code made a perplexing comeback with Galaxy. Simply considering the fact that there are three members left in the group because two of them died, celebrating the number 3 is more than mildly chilling. This feeling is amplified when one understands the mentality of the occult elite ruling the industry, who is bent on rituals, numerology, symbolism, mind control, and the power of sacrifice.

In a veiled and symbolic matter, the occult elite reveals their dark deeds, gloating about the fact that nobody is even trying to stop them. Ladies’ Code embodies and displays all of the elite’s obsessions so blatantly, they should be renamed … “Elite’s Code”.

Perfume’s “Pick Me Up” Brings Illuminati Mind Control Symbolism to Japan

Thursday, April 9th, 2015

J-Pop is a force to be reckoned with in Asia and, like all major musical markets, it is not exempt from the occult elite’s Agenda. Perfume’s “Pick Me Up” is all about Illuminati symbolism and the elite’s favorite theme: Portraying artists as mind controlled slaves.

In the span of a few years, I published several articles on K-Pop (Korean pop) and J-Pop (Japanese pop) music videos as they are intensively used to propagate the elite Agenda in Asia. Perfume is a Japanese girl-band that has been pushing that Agenda for years (I wrote about how they were all about that one-eye sign in 2011 and about how they promoted transhumanism in 2012). Perfume is now back and is more blatant and ever. Pick Me Up has indeed all of the elements of a typical Illuminati narrative and, as usual, they are concealed behind a fake premise.

For the unsuspecting viewer, the video of Pick Me Up appears to be about a timeless philosophical theme … shopping. The video indeed begins with the girls walking around while holding shopping bags and whatnot. Then, things get weird. While most YouTube comments say “Wow, that was so creative”, the truth is that there’s nothing creative about Pick Me Up. It is yet another video as portraying pop stars mind controlled slaves who are coerced into saluting their oppressors. (If you never heard of Monarch mind control, read this first).

Let’s look at the video.

Pick Me Up

As stated above, the video begins with the members of Perfume walking in Tokyo at exactly 23:59 pm. Something is about to change – a brand new day is literally upon them. As they walk by a clothing store with male mannequins on display, we realize that the mannequins are actually alive and are creepily watching the girls.

This guy's got the entire "2015 hipster doofus starter pack". More importantly, he represents the MK system monitoring MK slaves.

This guy’s got the entire “2015 hipster doofus starter pack”. More importantly, he represents the MK system monitoring MK slaves.

The girls then see strange things happening around them. They are then lifted from the ground.

Standing in front of a hypnotic pattern, the girls lift off the ground. They are being "picked up" by the MK system.

Standing in front of a hypnotic pattern, the girls lift off the ground. They are being “picked up” by the MK system.

The above scene represents the girls in the process of dissociating from reality. MK slaves in a state of dissociation are said to feel weightlessness as if floating on air. The hypnotic pattern in the background highlights the fact that this is a psychological process happening in their heads.

The girls then find themselves in an alternate world – which represents their psyche in a state of dissociation. There, we see Perfume posing as lifeless mannequins, trapped behind an invisible window.

These mannequins represent the girls' alter personas waiting to be "activated" through MK programming.

These mannequins represent the girls’ alter personas waiting to be “activated” through MK programming.

During their stay in the world of dissociation, we see several images representing their state of Illuminati slaves.

They flash the one-eye sign a few times to make sure you understand that this is about mind control.

They flash the one-eye sign a few times to make sure you understand that this is about mind control.

 At one point, Perfume makes it extra clear for us : They form a triangle with their hands above their heads (it is even highlighted by white lines). They then lower that triangle over one eye.

At one point, Perfume makes it extra clear for us: They form a triangle with their hands above their heads (it is even highlighted by white lines). They then lower that triangle over one eye.

This, of course, is a reference to the ultimate Illuminati symbol, the All-Seeing eye inside a triangle.

While this symbol has become a mainstream, "LOL Illuminati" type joke, the occult elite is still dead serious about it - it is still sacred and a representation of their rule on the masses.

While this symbol has become a mainstream, “LOL Illuminati” type joke, the occult elite is still deadly serious about it – it is still sacred and a representation of their rule on the masses.

We also see images relating to the mental state of MK slaves.

Mirror reflections are seen throughout the video representing the fragmentation of the slave's personality into several alter personas.

Mirror reflections are seen throughout the video representing the fragmentation of the slave’s personality into several alter personas.

he girls are also seen walking around a dark room filled with stairs leading nowhere and "blank" mannequins representing potential, programmable alter personas.

he girls are also seen walking around a dark room filled with stairs leading nowhere and “blank” mannequins representing potential, programmable alter personas.

The above scene is clearly inspired by Escher's drawing "Relativity".

The above scene is clearly inspired by Escher’s drawing “Relativity”.

Escher’s gift for creating images that confuse the brain have been exploited by MK handlers to program MK slaves.

“The art work of the European artist M.C. Escher is exceptionally well suited for programming purposes. For instance, in his 1947 drawing “Another World”, the rear plane in the center serves as a wall in relation to the horizon, a floor in connection with the view through the top opening and a ceiling in regards to the view up towards the starry sky. Reversals, mirror images, illusion, and many other qualities appear in Escher’s art work which make all 76 of his major works excellent for programming.”
– Fritz Springmeier, The Illuminati Formula to Create a Mind Control Slave

After dwelling in the world of dissociation for a while, the girls complete their programming and their alter-persona gets activated.

The core persona frees the alter-persona that was trapped behind the window.

The core persona frees the alter-persona that was trapped behind the window.

The core and the alter persona run together in order to escape creepy mannequins dressed as shady men.

Do these mannequins who are spooking the girls represent MK handlers who are often MK slaves themselves?

Do these mannequins who are spooking the girls represent MK handlers who are often MK slaves themselves?

Seeing that the mannequin-men are closing in on them, the core and alter personas have no choice but to jump into the void. This symbolically represents the MK handler pushing the slaves towards the completion of the programming.

The core and alter persona are about to jump back into reality.

The core and alter persona are about to jump back into reality.

By jumping into the void with the alter persona, the core completes programming. The activated alter is now a real entity that can be triggered by the handler.

Back in the real world, the girls notice they have new shopping bags. Because … oh right … that video was about shopping.

In Conclusion

Perfume’s Pick Me Up is more proof that the repetitive pattern of MK imagery found in music videos is a worldwide phenomenon that transcends musical genres and cultures. It is proof that a single, powerful elite is in control of the music industry across the world and forces its symbolism upon it. This shouldn’t be a surprise as all music labels with distribution means are owned by a handful of mega-conglomerates that control mass media outlets. For instance, Perfume is signed with Universal Music group (the largest music corporation in the world), which is owned by Vivendi SA, one of the five conglomerates controlling the entire entertainment industry.

So, as long as these people are in charge, the music industry will be populated with puppets who have no control over their creations and forced to propagate the elite’s agenda. While there are artists who have the fortitude of resisting to the temptation of “selling out”, there will always be desperate artists who will look up to the music industry giants, begging them one single thing: “Pick me up”.

Was the Death of K-POP Stars EunB and RiSe Foreshadowed in Their Last Video?

Monday, September 8th, 2014

Two members of the popular K-POP band Ladies’ Code tragically lost their lives in a car crash on September 3rd. The imagery of their last video depicted them literally flirting with death. Were they the first Illuminati sacrifices in K-POP?

leadkiss

In 2013, I posted an article entitled A-JAX and Ladies’ Code: Two Blatant Examples of Mind Control Culture in K-Pop in which I analyzed Ladies’ Code’s Hate You – a music video that was all about Illuminati mind control and sadistic handlers. The disturbing imagery of the video was yet another proof that the South Korean music industry was subjected to the same sick Illuminati agenda as in the Western world.

The video portrayed the singers as puppets with strings controlled by unseen handlers.

The video portrayed the singers as puppets with strings controlled by unseen handlers.

Dolls representing multiple personalities; markings on the wall indicating forced confinement; a butterfly flashing for a split second : All symbols alluding to Monarch Programming.

Dolls representing multiple personalities; Markings on the wall indicating forced confinement; A butterfly flashing for a split second: All of these symbols alluded to Monarch Programming.

One year later, two members of the group lost their lives in a violent car crash.

Police inspector Lee Ho-dong told the Associated Press that the crash happened when band were returning to the South Korean capital after filming a TV appearance in the south-eastern city of Daegu.

The van driver was treated for a minor injury before being questioned and may have been speeding on a wet road to meet a tight schedule, Mr Lee said.

“We are investigating the exact cause of the accident,” he said. “But it’s difficult because the highway section where the crash occurred did not have a closed-circuit television camera.”

He added that a camera from inside the van had been sent to the National Forensic Service.
– BBC News, Ladies’ Code singer Rise dies after crash

Singer EunB lost her life at the crash site while RiSe passed away a few days later, after hours of intensive surgery.

Shortly after the car crash, a few strange facts surfaced, causing some observers to believe that the van used by Ladies’ Code was sabotaged. First, the van was not the group’s usual vehicle but a rental that was “used for the first time”. Second, the airbags did not deploy. Finally, a wheel completely flew off from the vehicle. This is a rare occurrence, especially with recent vehicles.

Pictures of the van used by Ladies' Code. One of the rear wheels completely flew off the vehicle.

Pictures of the van used by Ladies’ Code. One of the wheels completely flew off the vehicle.

While this entire event can be written off as an unfortunate accident, there are signs of it being a pre-planned Illuminati sacrifice. The most troubling of these signs is the group’s latest video Kiss Kiss which clearly gives the group a kiss … of death.

Does Kiss Kiss Foreshadow the Tragedy?

Although the lyrics of the song Kiss Kiss are kissing a boy, the video gives the song a darker meaning: It is about, literally, the kiss of death. Released less than a month before the tragedy that killed singers EunB and RiSe, the video portrays members of the group exposed to death in several ways. Here are key scenes from the video.

The video begins with the members of Ladies’ Code visiting a dead man lying inside a casket. The girls oddly act as if they are attracted to him. Later in the video, each member visits the dead guy and attempt to kiss him (why?). When EunB (one of the two singers who died in the car crash) visits the man, he gets up and kisses her.

EunB litterally receives the kiss of death. She lost her life one month after the release of this video.

EunB literally receives the kiss of death. She lost her life one month after the release of this video.

In another scene, EunB is shown sitting in front of a target while arrows are shot at her.

EunB doing the Illuminati One-Eye sign while arrows are shot at her.

EunB does the Illuminati One-Eye sign while arrows are shot at her.

Inspired by the tale of Guillaume Tell, EunB must stand still as an arrow is shot above her head. The arrows form kisses on the target - kisses of death. EunB clearly does not appreciate the exercise, as if she was forced into it.

Inspired by the tale of Guillaume Tell, EunB must stand still as an arrow is shot above her head.  EunB clearly does not appreciate the exercise, as if she was forced into it.

In the video, death is also represented using poison.

In this scene, we see a vial of poison turning a red apple yellow with black dots. This pattern will represent death throughout the rest of the video.

In this scene, we see a vial of poison turning a red apple yellow with black dots. This pattern will represent death throughout the rest of the video.

A poisonous frog, which is yellow with black dots, floats towards Zuny using black balloons (representing death).

A poisonous frog, which is yellow with black dots, floats towards Zuny using black balloons (representing death).

RiSe, the other member who died from the car crash, actually kisses the poisonous frog.

RiSe (the other member who died from the car crash) actually kisses the poisonous frog.

In this unsettling scene, a black tree branch (representing death) enters through a window to "offer" an apple.

In this unsettling scene, a black tree branch (representing death) enters through a window to “offer” an apple.

The video ends with a strange scene, and considering what happened to the RiSe, it becomes even more troubling. RiSe is indeed shown moving towards a wall on which there’s a black face.

The black face is surrounded by six arms pointing towards it.

The black face is surrounded by six arms pointing towards it.

If one connects the arms with lines, the symbol looks like the Seal of Solomon - giving the "death kiss" an occult, ritualistic aspect.

If one connects the arms with lines, the symbol looks like the Seal of Solomon, giving the “death kiss” an occult, ritualistic aspect.

The Seal of Solomon as depicted by occultist Eliphas Levi.

The Seal of Solomon as depicted by occultist Eliphas Levi.

In this scene, RiSe is sitting on a chair while she is "rolled" towards the wall with the black face that represents occult death. Strange fact : RiSe died after the van crashed into a wall.

In this scene, RiSe is sitting on a chair while she is “rolled” towards the wall. Strange fact: RiSe died after the van crashed into a wall.

The machine however stops because Zuny pulls the plug. Strange fact : RiSe died in the hospital several days after the crash and after several hours of brain surgery.

The machine, however, stops because Zuny pulls the plug. Strange fact: RiSe died in the hospital several days after the crash and after several hours of brain surgery. Was the plug pulled on her?

In Conclusion

The girl group Ladies’ Code was featured on Vigilant Citizen in 2013 because their video Hate You was replete with symbolism alluding to Illuminati mind control. A year later, two members of the group lose their lives in strange circumstances. Whether it is a classic case of synchronicity or a classic case of Illuminati “foreshadowing through symbolism”, Ladies’ Code’s last video was all about its members being “kissed by death” and symbolically flirting with their own demise. While several strange, symbolism-laden, celebrity deaths were covered on this site, it is the first time that such an occurrence happens in South Korea. One might, however, say that this kind of sick event was bound to happen as K-POP has been replete with Illuminati symbolism for years.

Illuminati control over an industry is not simply about surface style and symbols, there is a deeper, darker aspect involved with this. The death of EunB and RiSe might be proof of this.

EunB

EunB

A-JAX and Ladies’ Code: Two Blatant Examples of Mind Control Culture in K-Pop

Wednesday, September 11th, 2013

Illuminati mind control symbolism does not only exist in the Western world. In Asia, the widely popular K-Pop scene is also replete with the same imagery. We’ll look at the symbolism of A-JAX’s “Insane” and Ladies’ Code “Hate You”, two blatant examples that prove the elite’s symbolism is truly international.

K-Pop (pop music from South Korea) has garnered an incredible following across the world as its machine keeps creating new boy and girl bands and music videos that become instant YouTube hits. The “Korean wave” has hit not only Asia, but also Latin America, Northeast India, the Middle East, and North Africa. However, while K-Pop appears to have become somewhat of an alternative to Western pop culture, it is not exempt from the Illuminati symbolism and the Agenda found in Western pop. In fact, the symbolism is often more blatant and in-your-face with K-Pop videos, causing me to ask: Is K-Pop truly an alternative to Western pop or just an effective way for the elite to get its message across in Asia?

A quick look at K-Pop videos such as A-JAX’s “Insane” and Ladies’ Code “Hate You” is all it takes to realize that mind control symbolism is as heavily pushed in K-Pop than it is in the West. In fact, both of these videos basically read like an MK-101 manual, using all of the symbols associated with it and portraying the stars as slaves. K-Pop has effectively become another outlet for the elite to promote its “mind control culture”, even alluding to its sadistic practices in stylish videos aimed at young (and unaware) people. (For more information mind control, read the article Origins and Techniques of Monarch Mind Control.) Let’s look at the videos and see how they fit right in with the MK Agenda that is also pushed in the Western world.

A-JAX’s “Insane”

A-JAX is one of these K-Pop “idol” boy bands that were completely created by a record label and reality TV. Their video “Insane” contains all of the hallmarks of MK symbolism. Furthermore, it clearly depicts the singers as mind-controlled slaves who are hypnotized in a mental institution and dissociate to a world full of MK symbolism. How much clearer can it get?

The video takes place in a mental institution room, where the band members held there are constantly hypnotized by creepy doctors. Throughout the video, the members dissociate to an alternate world while physically staying in the room. Causing a slave to dissociate is the basic premise of Monarch mind control and the video clearly refers to this. Why expose children to this sick practice? Because it is part of the elite’s Agenda.

The singer is in a hospital room where he is constantly hypnotized by a creepy handler figure. The clock behind him shows random times, probably noting the fact that MK slaves lose all sense of time. Above the singer is a Baphomet head (we do not fully see it in this shot). This symbolic figure is the anchor point for the slave's alternate worlds.

The singer is in a room and hypnotized by a handler. Throughout the video, the clock displays random times, probably emphasize the fact that MK slaves lose all sense of time. Above the singer is a Baphomet head (we do not fully see it in this shot). This symbolic figure is an anchor point for the slave’s alternate worlds.

The slave in the video compleltely follows the script of MK culture - he dissociates and the act is represented by him "going through the looking glass". He therefore literally goes through a mirror and dissociates from reality.

The video completely conforms to the “codes” of MK culture: Here, the slave’s dissociation is represented by “going through the looking glass”.

As seen in previous articles, “going through the looking glass” is the classic symbol for dissociating from reality. It was taken from Alice in Wonderland, a story that is used as a tool to program slaves.

When the slave goes through the mirror, he enters his “internal world” as programmed by his handler.

In one scene, the "dissociated world" is represented by a room full of mirrors.

In one scene, the “inner psyche” is represented by a room full of mirrors.

Those behind the making of the video appear to have a good knowledge of Monarch programming because this is exactly how the internal world of Monarch slaves is made to be.

“In programming Monarch slaves, mirrors are used a great deal. Within the Monarch slave’s mind, countless mirror images are made. The slave sees thousands of mirrors everywhere in their mind.”
– Fritz Springmeier, The Illuminati Formula to Create a Mind Control Slave

The concept of hall of mirrors to represent a slave's mind is often used in MK-themed media such as Katy Perry's "Wide Awake" (read the article about it here).

The concept of hall of mirrors to represent a slave’s mind is often used in MK-themed media such as Katy Perry’s “Wide Awake” (read the article about it here).

The slaves then go through another mirror to end up in another VERY symbolic scene: A room that solely consists of dualistic black and white patterns.

The pattern of this room was not randomly chosen: Dualistic patterns are used to program/hypnotize MK slaves.

The pattern of this room was not randomly chosen: Dualistic patterns are used to program/hypnotize MK slaves.

This painting by Monarch slave survivor Kim Noble clearly shows the importance of the pattern in MK programming.

This painting by Monarch slave survivor Kim Noble (read the article about her here) clearly shows the importance of the pattern in MK programming. The similarities between the music video and this painting are too striking to ignore.

The video clearly shows that the scenes of dissociation are happening in the slave’s mind.

After seeing this guy in the checkerboard room with wind blowing at him, we see him in the hospital room facing a fan, implying that he is physically there but his mind has dissociated there.

After seeing this guy in the checkerboard room with wind blowing at him, we see him in the hospital room facing a fan, implying that he is physically in the institution but that his mind has completely dissociated.

This singer has dissociated to another room. There are pentagrams all over his clothes. Combined with the Baphomet head behind, this scene refers to the black magic rituals that happen during the slaves' programming.

This singer has dissociated to another room. There are pentagrams all over his clothes. Combined with the Baphomet head behind him, this scene refers to the black magic rituals that happen during the slaves’ programming.

At one point, its eyeballs creepily turn towards the viewers, emphasizing its importance and letting you know that "it is watching you".

At one point, the Baphomet-head’s eyeballs creepily turn towards the viewers, emphasizing its importance and letting you know that “it is watching you”.

What kind of institution room has a Baphomet head right above the patient's bed? A MK institution.

What kind of institution room has a Baphomet head right above the patient’s bed while he’s being hypnotized? A mind control programming site … nowhere else.

Shots of the camera monitoring the slave emphasize the fact that MK slaves are constantly monitored and controlled.

Close-ups of the video camera tell the viewers that these A-JAX guys are not simply “Insane”, they are being monitored and controlled by their handlers.

The slave holds the "key to his psyche" but, as we can see here, it consists of two ends, hinting to the fact that slaves do have the key to their own mind.

The slave holds the “key to his psyche” but, as we can see here, it consists of two rear ends with no key, hinting to the fact that slaves do not own the key to their own mind.

All of this leads to the ultimate goal of Monarch programming: The fracturing of the core persona and the creation of new ones.

The multiplication of the slave in new personas.

The multiplication of the slave into new personas.

Almost every single frame of “Insane” is filled with imagery associated with and used in MK programming. While the song is about them being “insane”, we clearly see that there is a lot more going on there. The singers are actively being hypnotized, monitored and controlled to dissociate from reality. Combined with occult symbolism, the video gives a complete picture of what MK culture is all about.

Ladies’ Code “Hate You”

Reading the title of the song and a translation of the lyrics, most people would believe that “Hate You” is about a girl that hates her boyfriend but cannot leave him. However, the imagery of the video communicates something a lot more disturbing. There are absolutely no references to a love relationship in the video but plenty of references to another kind of relationship: One between an MK slave and her handler. Not only is the video replete with the basic symbolism we’ve seen in previous articles, it symbolically portrays the sick relationship between programmed slaves and a sadistic handler.

The girl is sitting among dolls, representative of the slave's alter personas. On the wall are tally marks, typically used by prisoners to count days behind bars. We therefore understand that the girl is "confined" there. For a split second, the image of a caterpillar appears on screen.

The girl is sitting in a room full of dolls (which represent the slave’s alter personas). On the wall are tally marks used by prisoners to count days behind bars. We, therefore, understand that the girl is “confined” and held there against her will. For a split second, the image of a caterpillar appears on screen.

 

The image of a butterfly then appears on screen, symbolic of Monarch (a type of butterfly) programming.

Immediately after, the image of a butterfly appears on screen – the symbol of Monarch (a type of butterfly) programming.

When we combine the dolls, the tally marks and the butterfly, we obtain a clear reference to Monarch programming.

“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.”
– Ron Patton, Project Monarch

While the two above frames are pure mind control imagery, the rest of the video makes everything clearer regarding its true meaning.

Here the singer innocently (yet creepily) plays with a marionette.

Here the singer innocently (yet creepily) plays with a marionette.

She then becomes the marionette, controlled by unseen hands - a classic way of depicting an MK slave.

She then becomes the marionette, controlled by unseen hands – a classic way of depicting an MK slave.

The other singers appear in similar scenes. First, they play the role of the handler, then the slave.

The singer holds the doll in a weird, restrictive way.

The singer holds the doll in a forceful, restrictive way.

She then herself gets held by unseen handlers.

She is then held herself by unseen handlers.

She gives this doll a cruel and unusual punishment: she burns one of her eyes using a magnifying glass.

This singer gives the doll a cruel and unusual punishment: she burns one of its eyes using a magnifying glass.

She then gets the same treatment, implying that she is a puppet herself. Also, this in another way of doing the one-eye sign.

We then see her with an eye patch, implying that she got the same treatment and that she is a slave herself. Also, this is a slick way of flashing the unavoidable one-eye sign.

Another one-eye sign in the MK themed video.

Speaking of the unavoidable one-eye sign, here it is again.

In this scene, between the two singers is a plate full of dolls that were torn apart - a symbol used to represent powerless and fragmented slaves. Like A-JAX's video, there's a horned figure "presiding" over the scene with a doll in between in them.

In this scene, the two singers are sitting behind a plate full of dolls that were torn apart. This is a symbol used to represent powerless and fragmented MK slaves. Like in A-JAX’s video, there’s a horned figure “presiding” over the scene.

Here this singer is strategically placed in front of the horns, appearing as if they are sticking out of her head - implying that she's an MK handler. She holds a dolls head while weirdly brushing her hair.

This singer is strategically placed in front of the horns, making them appear as if they were sticking out of her head. This indicates that she is playing an MK handler. Here, she is holding a doll’s head while brushing its hair.

For a split second, the image of a Baphomet-like skull flashes on her face, emphasizing the fact that these horns are not there for random reasons.

For a split second, the image of a Baphomet-like skull flashes on her face, emphasizing the fact that these horns are not there for random reasons.

She then holds the doll's hair, confirming that she was a handler basically torturing (scalping) a slave represented by the doll.

She then holds the doll’s hair, confirming that she was a handler basically torturing (scalping) a slave represented by the doll.

A slave literally bound to her handler.

A slave literally bound to her handler.

As a large number of screenshots taken from this video suggests, “Hate You” is pretty much a non-stop compilation of Monarch programming imagery. The members of Ladies’ Code are made to play the role of handlers and slaves, symbolically recreating some of the horrendous torture actual slaves have to live through. The chorus, which repeats “I hate you” three times to end with “but I love you”, can be interpreted as MK who despise their sadistic handlers, but that are nevertheless programmed into feeling something resembling love towards them. Sick? Yes.

In Conclusion

If you’re a regular reader of this site, you can by now easily recognize the specific set of symbols that are used by the occult elite its promote MK culture. Those who are part of the Monarch programming system have created a disturbing culture surrounding it, complete with esthetics and symbols that are now omnipresent in mass media. All of this is packaged with catchy tunes and good-looking performers, which causes young people to subliminally associate this culture with positive feelings, even making it fashionable. As the above videos prove, this is all becoming increasingly blatant and interpreting these videos through the mind-control lens is almost impossible.

While the mind-control culture appears to have originated in the United States, the exact same set of symbols and meanings are also present in the booming South Korean pop scene. The fact that this is happening proves two things: First, the set of symbols I describe in videos is NOT a result of coincidence. It is cohesive imagery that originates from Monarch mind control. Second, it is obvious that at the top of all music industries, whether it be in America, Europe or Asia, the same occult elite are promoting the same Agenda. Why does Baphomet have to be in all of these videos across the world? Because the horned head represents those in power, and those in power are not your locally elected politicians, but a global elite. Through these videos, you are being told what the elite believes in and the sick practices it engages in. Are people rebelling against this? No, quite to contrary, they are dancing to it and paying money to purchase it. I guess A-JAX aren’t the only ones who are Insane.

Wonder Girl’s “Like Money”: Promoting Transhumanisn Through K-Pop

Saturday, August 11th, 2012

We’ve seen in previous articles that the concept of transhumanism (which can be defined as the merging of humans and robots) is actively being promoted in mass media, whether it be movies, TV shows, music videos or video games (for articles on the subject, type “transhumanism”  in the search bar at the top of the page).

A blatant example of the promotion of transhumanism can be found in the Wonder Girl’s latest video, Like Money. This widely popular K-Pop group is crossing over to America (the song is in English and features Akon) and has been pushing Illuminati symbolism for a while.

Member of the group Sohee in photoshoot featuring one-eye and Mickey Mouse mask (representing Mind Control). Many other symbolism pics of the group can be found.

In the video, the singers are depicted as robots constructed by faceless scientists and presented as “new and improved” versions of themselves. Yes, apparently losing one’s soul and becoming a remote-controlled robot is now considered an “improvement”. If you  want to watch the video, you can view it here.

The video starts with scrambled video of a single eye, a fun way of letting you know that there’s going to be some Illuminati Agenda going on there.

The intro of the video describes “Project WG and is pretty much an infomercial for transhumanism. Here’s what it says:

“Project WG, deemed a success. Human genetics are combined with robotic enhancements. Yubin, Yenny, Sohee, Lim, Sun: Bionic women given the title of Wonder Girls. They are perfectly designed for complete domination. The future is now.”

These short few phrases contain pretty much all of the characteristics of the transhumanist agenda. By using words such as “enhancements”, “bionic”, “perfectly designed” and “domination”, the concept of transhumanism is sold as something better than regular old human beings. The last phrase “The future is now” is a nice example of predictive programming as it basically tells the viewers that transhumanism will inevitably be part of the future.

The next scenes of the video show members of the group completely blank and lifeless on high-tech operating tables and being put together by faceless scientists. Not only does it make transhumanism look cool, it is a great way of depicting puppets of the music industry. All of internal organs (even the heart) have been removed to be replaced by mechanical parts.

If eyes are windows to the soul, than this electronic eye is a window nothing much.

The rest of the video features amazing lyrics such as “Love me like money, Love me like cars, Love me babe love me babe wherever you are” – proving that brains were probably also removed during “Project WG”.

Brown Eyed Girls’ Video “Sixth Sense” or How the Elite Controls Opposition

Sunday, October 23rd, 2011

Backed by big money and millions of fans, the Korean pop music industry (K-Pop) has taken over the airwaves of Asia and the world. Although groups such as Brown Eyed Girls do not sing in English, they definitely bring to the masses the same Illuminati symbolism pushed by pop stars in the Western world. The video of “Sixth Sense” is a true manifesto of the elite, describing how it controls entertainers and uses them to indoctrinate the masses. 

In last year’s article Narsha and SHINee: Illuminati Infiltration of K-Pop, I looked into the symbolism of two popular K-Pop videos and how they fit in the global Illuminati agenda. Since then, Korean pop has only gotten bigger as record labels like NegaNetwork and SM Entertainment churn out new boy and girl bands at a hectic pace. These labels are almost “pop music sweatshops” as scandals have arisen regarding the mistreatment of K-Pop stars and the signing of “slave contracts”. These labels are, in turn, owned and controlled by the same elite global media corporation who own American and British labels and pop stars. In this context, is it surprising that K-Pop videos show its stars tied down and submitting to a totalitarian power?

The video of Sixth Sense from the very popular girl band Brown Eyed Girls, could not better portray the elite’s control on media and entertainment.  More than simply displaying Illuminati symbolism, the video presents the blueprint of how popular figures can be used to communicate a specific message using sex and music as an incentive. Each one of the group’s members is shown in a different position of submission, each representing the different ways the elite controls entertainers to serve its interests. While Myrio, Narsha, Ga-In and Jea appear to be rebelling against an authoritative police state, they are, at the end of the day, controlled opposition, serving in the elite’s Hegelian dialectic. Yes, all of these complex concepts are found in a K-Pop video intended for children and teenagers. Are they being warned or indoctrinated by the message of the video? Let’s look at the symbolism of the video and the messages it communicates to the viewers.

The Premise of Sixth Sense

The video takes place in the context of a totalitarian police state, where media is tightly controlled and people are tightly monitored.

The video begins showing police in riot gear and video cameras, setting it in a Big-Brotherish police state.

The regime is controlled by a masked figured named “the Absolute” (according to an interview with the lyricist of the group), who could easily be associated with the “masked” occult elite.

The Absolute looking over its army of riot police. Yet another music video getting young people used to the idea of an oppressive police state.

There appears to be some resistance to the Absolute’s regime, namely Brown Eyed Girls. They are shown standing in defiance of the riot police and appear to be taking a stance against the oppression of the Absolute. As an ultimate gesture of defiance, the group starts singing. Do they sing about freedom and liberation? Are they singing out what is on everyone’s mind? No, not really. The listeners are treated to the same pseudo-sexual drivel all pop songs numbs our brains with. Here’s a translation of the first verse:

Your thirsty face starts sweating
And your flesh is on the tip of my sharp fingers

The bubble in champagne
Explodes, good pain
No need to worry, love is just a game

What does this have to do with resistance? Not much. In fact, the song is about the exact opposite: Not resisting but giving in to the “Sixth Sense”. Are B.E.G. truly in opposition to the riot police or are they in fact on their side? The six-pointed star on the police uniforms represents the “Sixth Sense” so it would seem both sides are about the same thing.

The riot police wear a star with its lowest point red, symbolizing the sixth sense. In occult symbolism, upside down triangles represents the vulva, the feminine energy, and reproduction.

What exactly is the “Sixth Sense”? Judging by the lyrics of the song and the symbolism of the video, it is sexual energy – the most basic and primal of human instincts. It is the easiest way to capture and keep the attention of an audience and is used ad-nauseam in pop music to generate interest in otherwise insipid songs. Pretty girls can make things such as a fascist police-state cool. On an esoteric level, reproductive organs are part of the base chakra, which can explain why it is associated in the video with the lowest point of the sixth-pointed star. While the five other senses send information to the brain to be processed and analyzed, the carnal impulse in humans bypasses all of that and directly taps into our primal urges. For this reason, sexuality can be (successfully) used to sell anything, including music videos.

At the start of the song, Ga-In immediately points towards her “upside down triangle”, singing “Touch Touch”. I guess that’s all there need to be known about the  Sixth Sense.

B.E.G. is, therefore, singing about how great the Sixth Sense is, in front of riot police wearing a symbol representing the Sixth Sense. Are they really on the same side? It is still early to say, however, the video goes on to show the backstory of each of the group’s members. In the video’s narrative, they each have been used by the Absolute in a different way, each of them representing a facet of Illuminati control in the entertainment business.

Facets of Illuminati Control

During the video, each member of B.E.G. is shown in a different setting, yet in a similar situation: They are all controlled and monitored by the Absolute and forced to play a role in the advancement of its Agenda. The character played by each member represents a facet of Illuminati control in the entertainment business.

Miryo, the rapper of the group as the “messenger”.

Miryo is shown standing in front of the luxurious palace of the Absolute. She is therefore “owned” by him and speaks for him (the double “S” on the palace stands for Sixth Sense). Miryo appears to be strong and confident but, upon closer look, we realized that she is actually tied down. She is forced to speak into microphones (representing the media) to transmit the message of the Absolute. This image represents the fact that artists are used as mouthpieces by the elite, who utilize their popularity and charisma to deliver messages. When Miryo signed that record contract to become a professional singer, she indeed became the property of the elite.

Narsha representing mind control and Kitten Programming.

Narsha’s character is very animalistic, sensually crawling around on four legs like a cat. She is wearing leopard-print shorts, which, as readers of this site know, represents Kitten/beta programming in mind control symbolism (see the article entitled Origins and Techniques of Monarch Mind Control for more information regarding Mind Control). She is also surrounded by animal cages, which represent the dehumanization and captivity of mind control slaves at the hands of their handlers. Actual MK slaves are said to be often held in animal cages to cause trauma. Despite her forced state, Narsha appears to enjoy being watched, which is how Beta Kittens are programmed to act.

Narsha is shown in juxtaposition with a cat walking around the elite’s palace, furthering the association with Kitten programming.

In an interview, the lyricist of the group Kim Eana explains Narsha’s role:

“Narsha represents the ‘sixth sense’ in itself, and embodies the animalistic lyrics in the song (such as “The tips of my sharp nails become embedded into your skin”). Since there is a recurring ‘jungle cat’ theme, Narsha was directed to act as wildly as possibly for the video. The lights inside the cages are flashlights, a symbol of constantly being watched and observed.  What’s interesting about her character is that although she looks afraid of it, she also seems to enjoy being observed.”

Jea, representing sacrifice.

At first glance, the scene featuring Jea appears to be somewhat poetic, with her floating in water and whatnot. On closer look, we realize that she is tied up to the piece of wood and is left there to die, in a matter vaguely similar to Christ tied up to the cross. We also realize that this is taking place in the pool of the elite’s palace. In other words, they placed her there to sacrifice her.

Jea, therefore, represents the ritual sacrifices of the occult elite. More than being simple employees, public figures that are part of the Illuminati industry sometimes become unwilling parts of Illuminati rituals. The lyricist of the group confirms that

“Jea represents the image of sacrifice. She’s tied to tree branches, an idea derived from religion.  Although the scene looks beautiful from afar, the viewer is able to see that Jea is being pressed down and chained.”
– Kim Eana

Ga-in, the traitor.

Ga-In’s character appears to have been beaten and humiliated by the Absolute’s regime as a result of being a traitor. She is now tied to a chair, between Masonic pillars and is being filmed by a camera. She is the “example”, showing to others what happens to those who attempt to go against the Absolute.

The Uprising

At one point, all of this singing and dancing apparently gets everyone riled up and ready to start a revolution. The members of B.E.G., who were shown above to be restrained and monitored, become aggressive and rebellious (although they never truly free themselves). The riot police feed on this energy and become rebellious too. They are shown questioning themselves as they remove their helmets to reveal their faces. These soldiers are not simple pawns, they are young men with emotions and stuff. They turn against their ruler and rush towards him as water cannons protect the palace.

At that point, the mask of the Absolute is shown thrown on the ground.

The golden mask, representing the hidden, faceless elite is shown on the ground, leading the viewers to think that the revolt was a success.

The scene then reverts to reality and shows again the riot police about to rush B.E.G.

There is no uprising. 

The rebellion incited by the girls was one big fantasy dreamt up by B.E.G. and the army. They are now back to the cold, hard reality: You cannot fight the Absolute.

Meaning of the Video

Under the guise of entertainment, the video of Sixth Sense gives its viewers a rather harsh lesson in power and politics. A basic analysis of the story, answering simple questions such as “who won the battle?” and “what’s the moral of the story?”, reveals that the elite won and that resistance is useless. In fact, there never was any actual resistance as B.E.G. were manipulated by the Absolute all along. The uprising was nothing but a mere illusion, proving to the viewers that they can be lead to believe anything they see.

Presented as heroes of the people, B.E.G. is shown to be inciting a riot and being agents of liberation. The only thing they however truly accomplished is a mere distraction, a temporary escape to a world filled with brave and determined people, ready to fight for freedom. This is what mass media accomplishes on a daily basis: Putting in the spotlight artists who are, in appearance, rebellious and uncompromising, yet following their messages is exactly what the elite wants the masses to do. In communication-theory terms, the viewers are subjected to a Hegelian dialectic, where a thesis and anti-thesis are proposed, but engaging in either one of them ultimately advances the agenda of the elite. In other words, it is one big circular mind-screw. Here’s a little description of how it works:

“For the elite of his day, and for the monetary elite today, the Hegelian dialectic provides tools for the manipulation of society.

To move the public from point A to point B, one need only find a spokesperson for a certain argument and position him or her as an authority. That person represents Goalpost One. Another spokesperson is positioned on the other side of the argument, to represent Goalpost Two.

Argument A and B can then be used to manipulate a given social discussion. If one wishes, for instance, to promote Idea C, one merely needs to promote the arguments of Goalpost One (that tend to promote Idea C) more effectively than the arguments of Goalpost Two. This forces a slippage of Goalpost Two’s position. Thus both Goalpost One and Goalpost Two advance downfield toward Idea C. Eventually, Goalpost Two occupies Goalpost One’s original position. The “anti-C” argument now occupies the pro-C position. In this manner whole social conversations are shifted from, say, a debate over market freedom vs. socialism to a debate about the degree of socialism that is desirable.

The Hegelian dialectic is a powerful technique for influencing the conversations of cultures and nations, especially if one already controls (owns) much of the important media in which the arguments take place. One can then, as the monetary elite characteristically do, emphasize one argument at the expense of the other, effectively shifting the positions of Goalposts One and Two.”
– Daily Bell, Hegelian Dialectic

Pop stars often play the role of “Goalpost Two” in entertainment videos, but the blatant symbolism of these videos show that they are truly working for the hidden rulers.

The final scene from Beyonce’s “Run the World (Girls)”, saluting the riot police. While, at first, Beyonce appears to be leading a resistance or a liberation movement, this final scene tells the viewers that, regardless what they just saw, she still obeys the orders of the powers that be. Like Sixth Sense, this video also emphasizes the power of sexuality to control the masses with lyrics such as “My persuasion can build a nation/ Endless power, the love we can devour/ You’ll do anything for me.”

Although the four members of B.E.G. were shown to be somewhat rebellious, the core of their message was, at the end, exactly what the elite wanted to communicate. The concept of Sixth Sense appeals to the shutting down of intellectual and cognitive functions to “surrender” to the mesmerizing effect of lust in mass media. It is during this somewhat hypnotized and slightly aroused state that messages can effectively reach the viewer’s brains with maximum effectiveness.

In Conclusion

By analyzing the political message of Sixth Sense, one forgets that this video is primarily aimed at children and teenagers. While listening to the music and admiring their idols’ dancing, the viewers are exposed to a powerful lesson that sticks in the subconscious mind: Resistance is futile. Even worse, resistance does not even exist as those who appear to be resisting are just leading you towards the elite’s goal. These kinds of propaganda videos existed under dictatorships, but today they are passed around as “entertainment”. They get massive airplay on MTV and millions of hits on YouTube. In reality, nobody is forced to watch these videos, but they are nevertheless quite popular. Is there a reason why people willingly subject themselves to this kind of elite propaganda? Yes. These videos appeal to their Sixth Sense … and people like that.

 

K-Pop and J-Pop Into Illuminati Symbolism: New Kyary Pamyu Pamyu and SuperJunior Videos

Wednesday, August 3rd, 2011

K-Pop and J-Pop acts were covered several times on this site as they are often rife with Illuminati symbolism (see the full article on the subject entitled Narsha and SHINee: Illuminati Infiltration of K-Pop). The trend is definitely not fading away, as proven by these two new Asian pop videos who push obviousness of it all to a new degree. No in-depth analysis is required here, just big, fat, in your face, can’t avoid it, can’t act like it does not exist symbolism.

PONPONPON by J-Pop act Kyary Pamyu Pamyu is…ummm…annoying. So sorry in advance. If you don’t find it annoying and I offended you by saying that it was, well, whatever. This video is like a big mash up of Illuminati/MK symbolism 101 for kids. Bunch of eyes everywhere, checkerboards, butterflies, you know how they do it.

This next video is not even a full video but a preview of K-Pop group Super Junior. I don’t think it takes much more than 58 seconds to understand what they’re all about (can they, like, hide more one eye?).

Narsha and SHINee: Illuminati Infiltration of K-Pop

Saturday, August 7th, 2010

Illuminati symbolism is not only present in American pop culture, it is also heavily referenced in Korean pop (K-Pop), a multi-billion industry that reaches millions of young fans. We’ll look at the occult symbolism found in Narsha’s “Bbi-Ri-Bop-A” and SHINee’s “Lucifer” to see how the same hidden force that rules the American music industry also rules K-Pop.

Most of the articles found on The Vigilant Citizen have discussed the Illuminati symbolism found in the works of American artists. In the last years, however, the J-Pop (Japanese pop) and K-Pop (South Korean pop) industries have been producing their own factory-made pop stars to serve the enormous Asian market. Considering the importance of its large population, it is not surprising that the popular culture of the Far East is heavily tainted by the elite’s agenda.

Narsha’s video Bbi-Ri-Bop-A is a prime example of Illuminati symbolism in K-Pop, using the same storyline, symbolism and color codes found in other ritualistic videos described on this site (see Rihanna, Lady Gaga, Beyonce). The homogeneity of the messages the global population is exposed to is becoming increasingly apparent as cultural and local differences are being replaced by a single, calculated and debased popular culture.

Analysis of the Song and Video

The song and video revolve around the themes of ritualistic initiation and spiritual duality,   which have both been abundantly observed in other videos. Narsha starts by being a good, godly girl and undergoes a profound spiritual transformation.

The video begins with an average working guy (representative of the masses) working hard for his money. While drilling a hole, he accidentally uncovers a secret underground world that immediately attracts him.

He peeps through this world with his left eye, symbolic of the Eye of Horus and/or the All-Seeing  Eye.

He is then swept into an alternate, spiritual world—some might call it the astral plane—where he must choose his spiritual destiny.

Narsha poses as a dualistic spiritual being, starting the video wearing classical Christian symbols.

Narsha wearing Jesus Christ’s crown of thorns in front of a solar halo

The lyrics of the song invite the listener to follow her into a place “without sadness and happiness,” “with no disease,” but that is still compared to a nightmare. During the bridge of the song she says:

People that are worn out come to me
Give me your worn out soul
I will erase for you every memory you want to erase
What you want boy, what you want girl
Try to believe me, entrust me and come into me

While those words are being said, Narsha undertakes a visual spiritual transformation, illustrating the lyrics’ deeper meaning. Indeed, she is going from being godly to Luciferian.

Narsha’s Initiation

At the start of this pivotal scene, Narsha is dressed like the Virgin Mary, in a white robe— representing purity and innocence—and is praying assiduously. A supernatural force then intervenes and starts her metamorphosis.

Narsha’s virginal white robe turns to red, the color of sacrifice and initiation

Narsha has her purity “tainted” by the supernatural force. She then changes into a crow and flies over to the trident in front of her, symbolically representing that she has gone to the “dark side”.

The trident is also known as the “devil’s pitchfork” in religious iconography, as the adversary of God is often depicted holding the weapon. The trident can also be associated with Shiva the Destroyer and Poseidon, two mythological figures usually depicted holding a trident and who are of great importance in secret society Mystery Religions.

The devil, Shiva and Poseidon play similar roles in occult allegories.

The red-headed Narsha then zips through the forest where the construction worker is still looking for answers. The singer stops and unfolds big black wings, in a tribute to Lucifer, the Fallen Angel.  Narsha is in tears and looks troubled, hinting to a sense of pain and regret.

The construction worker is nevertheless attracted by the beautiful temptress and goes to her.

Narsha smiles with satisfaction. The same way she was tempted to convert to the dark side, she uses her alluring powers to bring other people to it.

The worker (who, remember, represents the ignorant masses) is then shown laying on the floor, dumbfounded and bewildered. We are back in the “real world”, hinting that the entire scene took place in the man’s spiritual interior.

The video to Bbi-Ri-Bop-A symbolically portrays what happens in the occult entertainment world. Promising young talents looking for fame and riches are chosen and “initiated” by the elite. The stars are then used to charm and attract unsuspecting minds—the fans—who admire and imitate them, ultimately adopting the values the elite wants them to adopt.

SHINee

K-Pop’s latest puppets?

SHINee is one of Korea’s most popular music acts. What seems to be an Asian male version of the Pussycat Dolls released a second album that seems on par with the Illuminati’s Luciferian agenda. It is subtly called … Lucifer. Here’s their video of the same name:

There is no elaborate storyline in this video just product placements from BMW, complicated hair and a supernatural force (Lucifer) mesmerizing the singers.

The song’s lyrics compare the love of a treacherous woman to the spell of Lucifer … or is it the other way around? Here’s an English translation of the lyrics:

Even if I try to avoid you, I can’t find a place to hide
I’m trapped by you, who I can’t even deny
If it was love, if you really loved me, don’t do this to me
Her whisper is the Lucifer

If you tie me down and trap me
Then the love is also tied down
The future is also tied down
It can’t grow anymore
Freely empty yourself and look at me
I’ll fill you only, I’ll completely fill you only

Your undeniable spell is the Lucifer
Your undeniable magic is the Lucifer
When I approach you
With your angelic face
Say the reason you live is for me
Say it

When I first saw you, I stopped for a short time
As if someone was tightly seizing my heart, not letting it go (still)
You took all, all, all, all, all, all of my heart just like that
You make my heart burn out when you’re not here

If you tie me down and trap me
Then the love is also tied down
The future is also tied down
It can’t grow anymore
Freely empty yourself and look at me
I’ll fill you only, I’ll completely fill you only

Loverholic, robotronic, loverholic, robotronic

The love stories I shared with you
You look towards the same places I do
When we feel that we can’t get any more perfect
Only stare at me, you want me more, more, more, more, more, more
Only look at me, you’re the center of everything, thing, thing, thing, thing, thing

Since before, something has been wrong, you’ve been weird
The love I knew left my side, one by one
All I have is you

If you tie me down and trap me
Then the love is also tied down
The future is also tied down
It can’t grow anymore
Freely empty yourself and look at me
I’ll fill you only, I’ll completely fill you only

I feel like I’ve become a clown trapped in a glass castle
I dance for you, who will never be satisfied
You look into me openly, touching my brain
I think I’ve become a fool
I think I’m only getting more and more attracted to you

Loverholic, robotronic, loverholic, robotronic

It’s not that I hate you or that I dislike you
It’s just that kind of stare is a burden is all
I’m not going anywhere
I’ve waited like this by only looking at you

Your stare captures me
As the days went by, it became sharper
I’m tired of your obsession
I’ve been cut a lot, my heart is bleeding
When it’s about time for me to pass out
She comes to me like an angel, saying “I love you”
Even though I knew it was really you
You really confused me

If you tie me down and trap me
Then the love is also tied down
The future is also tied down
It can’t grow anymore
Freely empty yourself and look at me
I’ll fill you only, I’ll completely fill you only

I feel like I’ve become a clown trapped in a glass castle
Leave me alone, when I’m free, I’ll be able to truly love you
Leave me alone, don’t make me sick of you
So I can truly look at you

If you tie me down and trap me
Then love is also tied down
The future is also tied down
It can’t grow anymore
Loverholic, robotronic, loverholic, robotronic
Your undeniable spell is the Lucifer

I feel like I’ve become a clown trapped in a glass castle … what an interesting way to describe the fate of pop stars. Like their counterparts of the Western world, these pop stars sing about being trapped, used and confused while their young fans dance and recite the words. As if to confirm the occult inspiration of the song, the video finishes with a shot of all the group’s members flashing the hermetic sign of “as above so below”.

SHINee pointing one finger up and one finger down well singing the word “Lucifer”

What other figure displays that sign? Oh yeah: Baphomet.

The whole “loverholic, robotronic” bit is reminiscent of the transhumanist theme found in western pop videos. The same  mix of occult, robotic, mindless, mechanic and sexually ambiguous imagery found in Western Pop is found in the Illuminati-controlled K-Pop.

Overt occult imagery is also found in the group’s performances. Take a look at the stage they performed on in a recent performance.

SHINee litterally surrounded by a Masonic checkerboard pattern. I guess we know who owns them.

Trivia: What was the name of the other single they performed on this stage? Up and Down … Yup, as in “as above , so below”.

 

In Conclusion

As popular culture is being produced by an ever-shrinking number of media conglomerates, we are witnessing a homogenization and standardization of the message that popular culture delivers. Through Narsha’s video, young Koreans are exposed to the same spiritual ritualism that young Americans witness through Lady Gaga, Rihanna or Christina Aguilera. Throughout popular culture, young people in America, the UK, Australia and Korea—and anywhere else that gets MTV—are exposed to the same “trends,” symbols and messages as their idols transmit to their fans the Illuminati agenda in a strikingly similar fashion: the same symbolism, color coding and hidden meanings are inserted in the videos as if they’ve all emerged from the same blueprint.

The elite’s New World Order aims, as its name implies, to cover the entire world. To achieve this, the world’s population must embrace the same culture, the same values and the same messages. Who better than “clowns trapped in a glass castle” to embed those messages in the minds of the younger generation?