Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Posts tagged ‘Media’

This is only the Beginning of What HSBC?

HSBC are known for having posters of people doing things with inspirational quotes about their achievement accomplished with the bank’s funding… But what the hell is this?

HSBC Avatar Blue People Artificial Intelligence Ultraterrestrials Extraterrestrials Aliens Blue Beings Cloning

A human (presumably) surrounded by Blue humanoid beings seemingly connected by wiring behind them and he’s modifying one of them!

They remind me Avatar (2009) and my post Who/What are the Blue beings, why are we inspired by them?

This is not the same as their usual posters showing people jumping for joy on holiday or opening their first business.

Creepy.

Pedos in Power and Other Crooks – Pt 3 – PIE Press Cuttings

This is an awesome site for press cuttings and archiving.

https://spotlightonabuse.wordpress.com

The post I’m focusing on today is:

https://spotlightonabuse.wordpress.com/2014/11/26/timeline/

The Paedophile Information Exchange: Timeline of press cuttings 1975-2014

18th-25th January 1975: Letters regarding the Albany Trust’s links with PIE (The Times)

26th August 1975: Child-lovers win fight for role in Gay Lib (The Guardian)

26th August 1975: Legalise child sex – call (Sheffield Morning Telegraph)

28th August-15th September 1975: Guardian ‘London Letter’ column on PIE and related correspondence (The Guardian)

November 1975: ‘Evidence on the law relating to and penalties for certain sexual offences involving children – For The Home Office Criminal Law Revision Committee’ aka ‘The PIE manifesto’

22nd January 1976: Who really wants a change in the age of consent? (The Times)

Spring 1976: ‘Paedophile Politics’ (Gay Left)

19th May 1977: Adults only (The Guardian)

4th February 1977: Blackmail after man applied to join paedophile organization (The Times)

24th August 1977: Mirror comment – For adults only (Daily Mirror)

27th August 1977: Conference ban puts paedophile group further into cold (The Guardian)

28th August 1977: Dutch MP backs child sex (The Guardian)

30th August 1977: Paedophile talks backed by homosexuals (The Times)

1st September 1977: Paedophile conference plans ‘age of consent’ meeting (The Guardian)

4th September 1977: Britain ‘intolerant’ on child sex (The Observer)

9th September 1977: Priest’s child sex views repudiated (The Guardian)

20th September 1977: Fury of the mothers (Daily Mirror)

24th September 1977: Gays join PIE fight (The Guardian)

16th December 1977: Row over cash for paedophiles (Daily Mirror)

16th December 1977: Grants ‘help child sex group’ (The Guardian)

20th December 1977: Guardian praised despite erring (The Guardian)

25th January 1978: Musician jailed on charges over pornography (Daily Mail)

1st April 1978: Judge slams child sex ring (Daily Express)

1st April 1978: ‘Sinister’ sex group rapped (Daily Mirror)

11th June 1978: They just don’t give a damn (News of the World)

18th June 1978: Child sex leaders raided (Sunday Express)

25th June 1978: Why a school sacked the nastiest man in Britain (News of the World)

11th July 1978: Dishonoured: the shame of a viscount’s son who turned from porn books to child sex (Daily Express)

7th November 1978: Reporter held (Daily Mail)

24th June 1979: Poisonous PIEmen are at it again (News of the World)

18th November 1979: We trapped little boy’s evil friend (News of the World)

November 1980: The Beast of Berlin (Private Eye)

21st January 1981: Child sex group ‘is a force for evil’ (Daily Mail)

25th January 1981: Police swooped over our story on the PIE men (News of the World)

27th January 1981: Paedophile book earns lecturer’s praise (The Guardian)

February 1981: The Beast of Berlin (2) (Private Eye)

1st February 1981: PIE men retrial (Daily Mirror)

1st March 1981: PIE men face sex charge (News of the World)

7th March 1981: ‘Child porn exchanged’ (The Guardian)

14th March 1981: Why the DPP resurrected an ancient law to deal with paedophiles (The Guardian)

15th March 1981: Whitelaw quiz on envoy’s links with the child sex men (News of the World)

16th March 1981: Why we did not prosecute (Daily Mail)

16th March 1981: ‘Don’t name porn envoy’ (The New Standard)

16th March 1981: Tory MP threatens to name ex-diplomat mentioned in sex trial (The Times)

17th March 1981: Child-sex diary of a diplomat (Daily Mail)

17th March 1981: MP determined to name diplomat over child pornography case (The Guardian)

17th March 1981: MP is defiant over naming diplomat (The Times)

17th March 1981: Paedophile case diplomat would have faced purge (The Times)

18th March 1981: MP names man in child sex case (Daily Mail)

18th March 1981: I will name the porn case envoy today (Daily Express)

18th March 1981: MP defies porn case plea (Daily Mirror)

18th March 1981: Shame of the ‘porn’ envoy (The New Standard)

18th March 1981: Diplomat referred to in sex trial named today (The Times)

19th March 1981: I will name more names (Daily Express)

19th March 1981: MP in porn name storm (Daily Mail)

19th March 1981: Rap for MP who named envoy (Daily Mirror)

19th March 1981: Secret shame of Mr Perfect (Daily Mirror)

19th March 1981: ‘Porn’ envoy: Havers replies (The New Standard)

19th March 1981: MP’s questions anger Hayman solicitor (The Times)

19th March 1981: Mr Steel says naming diplomat may be abuse of privilege (The Times)

20th March 1981: How Sir Peter was kept out of the PIE trial (The Guardian)

20th March 1981: Havers defends non-prosecution (The Guardian)

20th March 1981: Text of MP’s questions on envoy and replies by Ministers (The Guardian)

20th March 1981: Law chief tells of ‘an obsession with child-torture’ (The Sun)

20th March 1981: My flat’s been bugged, he says (The Sun)

20th March 1981: Sir Peter ‘not in blackmail plot’ (The Sun)

20th March 1981: Attorney General’s full answer to question on Sir Peter Hayman (The Times)

20th March 1981: Ex-diplomat was not blackmailed or pressurized, solicitor says (The Times)

20th March 1981: Sir Peter and Mr Henderson (The Times)

21st March 1981: The double life of Sir Peter Hayman (The Times)

22nd March 1981: Child sex ring goes back into business (News of the World)

22nd March 1981: Filth behind a box number (News of the World)

22nd March 1981: This dreadful web of child corruption (News of the World)

22nd March 1981: Conspiracy, morals and lynch law (The Observer)

22nd March 1981: John Junor – Current Events (Sunday Express)

22nd March 1981: How PIE gets a cut of public money (Sunday People)

22nd March 1981: Scandalous: The cover-up in high places (Sunday People)

22nd March 1981: Top people escape child porn scandal (Sunday People)

23rd March 1981: Child sex sect gets new boss (Daily Mirror)

24th March 1981: MP ‘ready for gaol’ to protect source (The Guardian)

24th March 1981: Hayman MP defiant over source (The Times)

25th March 1981: Paedophile ban call (The Guardian)

26th March 1981: The questions unanswered in the Hayman case (The Times)

29th March 1981: MP’s fury at child porn for patients (News of the World)

7th April 1981: Havers denies special treatment for Hayman (The Guardian)

7th April 1981: Why Sir Peter Hayman was not named (The Times)

9th April: Letter regarding mental health charity MIND’s links with PIE (The Times)

20th April 1981: Village split as Sir Peter returns (Sunday Express)

25th July 1981: Teacher’s sex case ‘tragedy’ (Daily Mail)

25th July 1981: Teacher convicted of sex offences ‘can still teach’ (The Guardian)

20th September 1981: Classroom corrupters (News of the World)

20th December 1981: Vice link-up of the child sex beasts (News of the World)

20th March 1982: Clifford Hindley retires (Community Care)

18th July 1982: Police killer in sex spy probe (News of the World)

21st July 1982: Computer men to probe spy ‘leak’ (Daily Mail)

21st July 1982: Thatcher’s guarded security statement (The Times)

23rd July 1982: Tom O’Carroll released after 16 months in jail (Capital Gay)

15th August 1982: Child-sex boss in Whitehall shock (News of the World)

21st August 1982: Child sex spy tells all (Daily Star)

21st August 1982: Secrets of the PIE men (Daily Star)

23rd August 1982: Ban the PIE men (Daily Star)

3rd September 1982: College principal tells how he spied on PIE (The Guardian)

24th September 1982: Letter – A lust too gross to allow (The Guardian)

12th November 1982: Prime had links with child sex group (Daily Mail)

16th November 1982: MPs continue to press for debate on Prime affair (The Guardian)

27th November 1982: Another mystery death (Daily Express)

16th December 1982: MPs foiled on Prime debate (Daily Mail)

1982: PIE member Geoffrey Prime complains to the Press Council about the News of the World’s allegations (Press Council)

1982/1983: Sir Michael Havers complains to the Press Council about the Sun’s Geoffrey Prime allegations (Press Council)

1983: Interview with Steven Smith and Peter Bremner (BBC)

9th January 1983: Scare over sex-club spy (News of the World)

16th January 1983: Five get a rocket over Prime spy files (News of the World)

6th February 1983: PIE men are slammed (News of the World)

27th February 1983: Evil menace to children (Sunday People)

19th June 1983: Twisted lusts of TV stars (News of the World)

22nd June 1983: Scoutmaster quits (Daily Mail)

24th June 1983: Church man in sex row (Daily Mirror)

20th August 1983: Outlaw evil child-sex peddlers (Daily Mail)

22nd August 1983: God help our little children (Daily Express)

22nd August 1983: The Sun and Sir Michael (The Sun)

22nd August 1983: The Sun has to withdraw its allegations about Geoffrey Prime (The Times)

23rd August 1983: Child sex: MP ready to expose famous names (Daily Express)

23rd August 1983: ‘Ban PIE’ call (Daily Telegraph)

23rd August 1983: Dickens’ threat to reveal names (Huddersfield Daily Examiner)

23rd August 1983: Ban child sex cult urges angry MP (The Sun)

23rd August 1983: MP seeks to ban child sex group (The Times)

24th August 1983: Child sex: Yard set to hand over names (Daily Express)

24th August 1983: Sex with children: DPP gets names (Daily Mail)

24th August 1983: No stopping men of evil (Daily Star)

24th August 1983: Why evil group won’t be banned (Daily Star)

24th August 1983: ‘Why the Yard acted on PIE’ (The Standard)

24th August 1983: Telephone caller says he knows one of the men who assaulted boy (The Times)

25th August 1983: Eight top names on my list of shame (Daily Express)

25th August 1983: Sir Peter is unscathed by scandal (Daily Express)

25th August 1983: 15 men named in child sex report (Daily Mail)

25th August 1983: Peril of a child sex club ban (Daily Mirror)

25th August 1983: Brittan wants paedophile report (Daily Telegraph)

25th August 1983: Public figures named in files on sex offenders in Britain (The Globe and Mail, Canada)

25th August 1983: Scotland Yard sends two new reports on PIE to ministers (The Guardian)

25th August 1983: Confessions of the ‘child sex’ men (The Standard)

26th August 1983: The shocking truth about PIE (Daily Express)

26th August 1983: The men who want to make sex with children legal (Daily Mail)

26th August 1983: Yard sends child sex file to DPP (Daily Mirror)

26th August 1983: Kinky child cult wins new recruits (The Sun)

26th August 1983: You scum! (The Sun)

27th August 1983: Ministry in child sex link (Daily Star)

28th August 1983: The nasty nine (News of the World)

28th August 1983: They even snare kids of four (News of the World)

28th August 1983: Child sex and a VIP (Sunday Mirror)

28th August 1983: ‘Curb child sex’ bid (Sunday Mirror)

28th August 1983: Top people shield the child sex VIPs (Sunday People)

28th August 1983: What we exposed and they ignored (Sunday People)

29th August 1983: Law boss pledges war on child sex (Daily Star)

29th August 1983: PIE has right to speak, say gays (The Guardian)

30th August 1983: Public anger after attack on 6-year-old boy – Child-sex group’s leaders step out of the shadows (The Canberra Times)

30th August 1983: MPs named in child sex smear bid (Daily Mail)

30th August 1983: Envoys in child sex quiz (Daily Star)

31st August 1983: Brittan studies child-sex report (Daily Express)

31st August 1983: Child sex report studied (Daily Telegraph)

31st August 1983: Government ‘apathy’ on PIE criticized (The Times)

1st September 1983: The men of evil (Daily Star)

2nd September 1983: Child sex fiends face new purge – but Brittan goes one step at a time (Daily Express)

2nd September 1983: A whimper from Brittan (Daily Express)

2nd September 1983: Child abuse: Brittan orders police review (Daily Mail)

2nd September 1983: PIE’s views defended (Daily Mail)

2nd September 1983: Brittan is ready to tame the perverts (Daily Star)

2nd September 1983: PIE links with rights group (Daily Star)

2nd September 1983: Brittan seeks expertise on child assault cases (The Guardian)

2nd September 1983: Minister condemns paedophile views (The Times)

3rd September 1983: MPs on ‘child sex mailing list’ (Daily Express)

4th September 1983: PIE account closed (The Observer)

5th September 1983: Child-sex purge ‘scares top men’ (Daily Express)

9th September 1983: Child sex men charged (Daily Mirror)

10th September 1983: ‘Bastards’ fury at a child sex court case (Daily Mirror)

10th September 1983: 3 charged with sex offences (The Guardian)

30th September 1983: CHE steps up support for PIE (Capital Gay)

3rd November 1983: Police guarding home of Tory MP (The Guardian)

4th November 1983: Stalls are down on PIE (Islington Gazette)

24th November 1983: MP alleges paedophilia at palace (The Times)

25th November 1983: Two year cover-up on dirty pictures (Daily Express)

25th November 1983: Palace link in child sex scandal (Daily Express)

25th November 1983: Vice ring at the palace, says MP (Daily Mail)

2nd December 1983: Sex crusade Tory MP’s office raided (Daily Mail)

9th December 1983: Home Office orders police visit (Capital Gay)

16th December 1983: PIE-probe police visit another activist (Capital Gay)

15th January 1984: Row over Palace vice ‘cover-up’ (News of the World)

19th January 1984: MP hands over shock report on child sex (Daily Mirror)

19th January: Dickens’ Dossier (Huddersfield Daily Examiner)

20th January 1984: TV chief is named in child sex probe (Daily Express)

25th March 1984: Evil secret of a Scots address (Sunday Mail)

15th June 1984: ‘Child sex link’ man sues for £20,000 (Capital Gay)

28th June 1984: Resistance at top – MP (The Guardian)

28th June 1984: Bill to curb sexual abuse of children (The Times)

24th August 1984: Two years’ jail for paedophile (The Times)

16th September 1984: Child sex trial man flees (The People)

18th September 1984: Catch the PIE man! (Daily Star)

17th October 1984: PIE man: legal move (The Guardian)

19th October 1984: Paedophile group disbands (Capital Gay)

19th October 1984: PIE extradition (The Times)

November 1984: Guilty men who back child sex (Daily Star)

7th November 1984: Master spy head ‘traps men in child sex group (Daily Express)

7th November 1984: Child sex ring’s ‘Home Office link’ (Evening Standard)

7th November 1984: Leader of child sex group misses trial (The Guardian)

8th November 1984: Home Office phone link alleged in child sex case (The Guardian)

14th November 1984: Paedophile leaders cleared of child sex offence incitement (The Guardian)

14th November 1984: Fury over verdicts on child sex trio (Daily Express)

14th November 1984: Child sex boss escapes trial (Daily Mirror)

14th November 1984: Paedophile chiefs are cleared of main charges (Daily Telegraph)

14th November 1984: Jail fear of child sex men (Evening Standard)

14th November 1984: Child-sex pair cleared as MP slams law (The Sun)

15th November 1984: All-male jury is rapped (Daily Express)

15th November 1984: Child-sex men fear jail revenge (Daily Express)

15th November 1984: Child sex men face jail fury (Daily Mirror)

15th November 1984: ‘Tough time’ ahead in jail for paedophile chiefs (Daily Telegraph)

15th November 1984: Leaders of paedophile group are sent to jail (The Times)

17th November 1984: PIE man on child porn charges (The Guardian)

19th November 1984: Child sex group ‘has folded’ (The Guardian)

25th November 1984: Dutch delay decision on Briton’s extradition (Daily Telegraph)

28th November 1984: PIE extradition ruling delayed by Dutch (The Times)

5th December 1984: Alan Rusbridger’s diary (The Guardian)

January 1985: Extradition move on child sex man dropped (Daily Telegraph)

7th July 1985: Evil PIE boss in a child care scandal (News of the World)

29th December 1987: Porn group tries to link up with child charity (The Sunday Times)

25th January 1990: Two face child porn charges (Islington Gazette)

1st August 1990: ‘Snuff’ video outrage…but nothing stops the monsters (Daily Star)

16th December 1991: Child porn man who fled is jailed seven years later (Evening Standard)

17th December 1991: Pervert jailed (Daily Mirror)

23rd April 1992: ‘Wicked’ doctor took dirty pictures of young boys (Islington Gazette)

17th September 1992: Child care expert fined over photos of naked boys (The Independent)

6th May 1993: Country house hideaway of disgraced care chief (Evening Standard)

21st February 1994: Parents call for public inquiry over sex abuse skipper (Press Association)

24th February 1994: An abuse of trust (Daily Mail)

3rd March 1994: Social work team claims to have found nationwide paedophile ring (Care Weekly)

27th May 1994: Silence that cloaked child sex conspiracy (Evening Standard)

1st June 1994: Shadow of the attic (The Guardian)

9th September 1994: Police arrest child care chief (Daily Mail)

10th November 1994: Lecturer held (The Independent)

9th March 1997: These men are the child sex abusers (The Observer)

6th July 1997: Paedophile list set up by gay rights leader (The Sunday Times)

2nd June 1998: The epidemic in our midst that went unnoticed (The Guardian)

8th October 2000: Home truths (The Independent on Sunday)

28th October 2000: The web of pure evil (Daily Mail)

9th September 2001: Inquiry into researcher’s links with paedophiles (Mail on Sunday)

10th September 2001: University investigates PhD student’s internet links with paedophiles (The Scotsman)

15th September 2002: Scandal of pervert on top legal panel (Sunday Express)

10th February 2003: Under cover in suburbia, the master spy living off the state he betrayed (Daily Mail)

17th March 2004: The police child porn expert…exposed as a paedophile (Daily Mirror)

17th March 2004: Child porn ‘expert’ jailed for abusing young girls (The Guardian)

21st December 2006: The porn vault (Daily Mirror)

17th August 2007: ‘I hate him for what he did to my girl. He’s evil’ (Leicester Mercury)

2010/2011: Annual report (Campaign for Homosexual Equality)

19th April 2013: Tom Watson’s letter to Theresa May

25th March 2014: Teachers ‘abused boys at Osborne’s old school’ + second article + third article (The Times)

28th March 2014: Boys punished for telling of abuse by teacher (The Times)

Gallery

Retrospective Post of the Month – Dream Lovers, Voice Lovers, Vision Lovers; Ultra-terrestrial/Tech, Extra-terrestrial/Tech, Human Upgraded/Tech or a mix?

Once upon a time I had a dream, a typical yet strange masonic dream if that makes sense. It was a message but with a few tell tale clues that told me it wasn’t real i.e. the type of dream a lot of people mistake for past life dreams or prophecy. It was happening in real time and virtual ‘spiritual’. Just to make things clear, I don’t have to go into REM to dream, I haven’t in a very long time, I can just close my eyes, drift a little and straight away I’m dreaming and I can have a continuous dream all night even if I wake up (sometimes continually) in between.

I was in an ancient Egyptian style temple which looked a lot like a scene from Jupiter Ascending (2015) except there were giant pillars.

jupiter-ascending

Apparently I lived there and there was currently trouble in paradise. An old man/middle aged White bald/ing guy took me round the waist and escorted me outside telling me he had to leave but “he will look after you” – a ‘man’ in a room near my bed chamber. Someone who’d worked for him? A bodyguard. A ethereal being. Tall, White, dark haired, transparent.

I remember rushing to a library in Maine, US and recalling or thinking about the Library of Alexandria and knowing that there were two sites, not one as many people think and yes there was a temple nearby.

Basically this is not the first time someone has shown me an ‘other’ – a tall, White, dark haired, good looking ‘man’ who is after me and trying to get me to another level, whether he’s scaring/hunting me to push me there or trying another angle. But put it this way I’m nobody’s bait and I don’t have a ‘lost husband’ as some have tried to convince me of.
————————————————————————————————————————————————-

I’ve come across the work of Eve Lorgen (one of six researchers, 4 of whom died/met terrible ends) regarding ‘Love Bites’ i.e. relationships engineered/messed around with by ‘others’ either between humans or humans and ‘others’ and her interviews are very detailed. They explain numerous scenarios, false promises, cloning, dual consciousness etc.

Now let’s take a look at the popular media, especially those from Monarch style programming:

Mariah Carey’s (the lady obsessed with Butterflies, not the only star in Hollywood with that obsession; and now unicorns are dominating that hell hole) Dream Lover; lyrics:

I need a lover to give me
The kind of love
That will last always
I need somebody uplifting
To take me away

I want a lover who knows me
Who understands how I feel inside
Someone to comfort and hold me
Through the long lonely nights
‘Till the dawn
Why don’t you take me away

[Chorus:]
Dreamlover come rescue me
Take me up take me down
Take me anywhere you want to baby now
I need you so desperately
Won’t you please come around
‘Cause I wanna share forever with you baby

I don’t want another pretender
To disillusion me one more time
Whispering words of forever
Playing with my mind

I need someone to hold on to
The kind of love that won’t fly away
I just want someone to belong to
Everyday
Of my life
Always
So come and take me away

[Chorus]

Mariah Carey – Fantasy

Fairground = confusion – she’s by herself skating and on a rollercoaster alone instead of with friends – the sad clown and then the party – with her trademark bunch of “black dudes dancing [in a field]” (aka as in Dream Lover). Mariah’s videos aren’t as telling of ‘code’ and certainly not in comparison to modern videos/award shows etc, hers have always been very focused on her moving around a little and looking attractive.

However when we move on to…

http://vigilantcitizen.com/musicbusiness/beyonces-sweet-dreams-occult-mind-control/

Beyonce’s “Sweet Dreams” Video is About Occult Mind Control
September 17, 2009

Beyonce’s “Sweet Dreams” video is viewed by most people as being merely  “sexy” or “fashion” but not many get its occult meaning. Hidden in the symbolism of the video and in the song’s lyrics are references to dark themes: possession and mind control.

If you read my other article on Beyonce called “Beyonce to Sasha Fierce – Occult Symbolic Rebirth“, you’ll already be aware of the dark symbolism surrounding Sasha Fierce. “Sweet Dreams” is a perfect continuation of the dark themes surrounding Beyonce’s alter-ego: dark occultism, mind control, spirit possession, etc. The lyrics of the song and the imagery of the video have a supernatural and ethereal quality, as Beyonce professes her love to someone or something she calls a “sweet dream or a beautiful nightmare”.

Essential Information

So what is this song about? Love? Yes. Love of her mind controlled state and of her controller. Pretty disturbing. What is mind control? It is a technique developed by the CIA to literally control a subject’s mind (google MK Ultra for more info). “Monarch Programming” uses extreme treatments (such as electroshock) to cause a major trauma in the victims psyche. Ron Patton describes the main precepts of“Monarch Programming” here:

Definition and Description
“The name MONARCH is not necessarily defined within the context of royal nobility, but rather refers to the monarch butterfly. When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity ), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique. Occultic symbolism may give additional insight into the true meaning. Psyche is the word for both “soul” and “butterfly” coming from the belief that human souls become butterflies while searching for a new reincarnation. Some ancient mystical groups, such as the Gnostics, saw the butterfly as a symbol of corrupt flesh. The “Angel of Death” (remember Mengele?) in Gnostic art works was portrayed crushing the butterfly. A marionette is a puppet that is attached to strings and is controlled by the puppet master, hence MONARCH programming is also referred to as the “Marionette Syndrome.” “Imperial Conditioning” is another term used, while some mental health therapists know it as “Conditioned Stimulus Response Sequences.” Project MONARCH could be best described as a form of structured dissociation and occultic integration, carried out in order to compartmentalize the mind into multiple personalities within a systematic framework. During this process, a Satanic ritual, usually including Cabalistic mysticism, is performed with the purpose of attaching a particular demon or group of demons to the corresponding alter(s). Of course, most skeptics would view this as simply a means to enhance trauma within the victim,  negating any irrational belief that demonic possession actually occurs.”

Alters and Triggers
Another way of examining this convoluted victimization of body and soul is by looking at it as a complex computer program: A file (alter) is created through trauma, repetition and reinforcement. In order to activate (trigger) the file, a specific access code or password (cue or command) is required. The victim/survivor is called a “slave” by the  programmer/handler, who in turn is perceived as “master” or “god.” About 75% are female, since they possess a higher tolerance for pain and tend to dissociate easier than males. Subjects are used mainly for cover operations, prostitution and p*********y; involvement in the entertainment industry is notable.  A former military officer connected to the DIA, told this writer, “In the ‘big picture’ these people [MONARCH victims] are in all walks of life, from the bum on the street to the white-collar guy”. In corroboration, a retired CIA agent vaguely discussed the use of such personnel to be used as “plants” or “chameleons” for the purpose of infiltrating a designated group, gathering information and/or injecting an ulterior agenda. There are an inordinate amount of alters in the victim/survivor with numerous back-up programs, mirrors and shadows. A division of light-side (good) and dark-side (bad) alters are interwoven in the mind and rotate on an axis. One of the main internal structures, (of which their are many) within the system is shaped like a double-helix, consisting of seven levels. Each system has an internal programmer which oversees the “gatekeeper” (demons?) who grant or deny entry into the different rooms. A few of the internal images predominately seen by victims/survivors are trees, the Cabalistic “Tree of Life,” with adjoining root systems, infinity loops, ancient symbols and letters, spider webs, mirrors or glass shattering, masks, castles, mazes, demons/monsters/aliens, sea shells, butterflies, snakes, ribbons, bows, flowers, hour glasses, clocks, robots, chain-of-command diagrams and/or schematics of computer circuitry boards. Source: http://www.whale.to/b/patton.html

MK Ultra Victim (1961)

MK Ultra Victim (1961)

[My comment: this is an excerpt I've added, it's not part of Vigilant Citizen's article.]

[My comment: this is an excerpt I’ve added, it’s not part of Vigilant Citizen’s article.]

OK, this heavy stuff but there are some important points to note which are directly related to “Sweet Dreams”:

1. Monarch treatment gives a feeling of “light-headeness, as if one is floating”
2. It engenders a new creation, an alternate personality
3. The victim sees his controller as “god”
4. Dark occult rituals are involved in the process
5. Symbols relating to Monarch programming involve mirrors, glass shattering, rainbows, robots and more.

I’m guessing that you’re starting to see where I’m going with this. All of these things are represented in Beyonce’s 4 minute video. How much can one honestly attribute to coincidence? The truth is: “Sweet Dreams” is a metaphor for mind control, Monarch Programming to be precise, and Beyonce sings from the point of view of the programmed slave.

Song Analysis

“Every night I rush to my bed With hopes that maybe I’ll get a chance to see you When I close my eyes I’m going out of my head Lost in a fairytale, can you hold my hands and be my guide?”

Beyonce is looking forward to “going out of her head” and getting “lost in a fairytale“. She is asking her controller to “hold her hand and be her guide“. The state of a mind controlled slave is often compared to a fairytale (they are said to be shown movies such as The Wizard of Oz). The controller will be her guide in the treatments.

“Clouds filled with stars cover the skies And I hope it rains, you’re the perfect lullaby What kinda dream is this?”

There is a real sense of a hazy state of mind. Beyonce says to her controller, who is causing in her this mental state, “you’re the perfect lullaby”.

“You could be a sweet dream or a beautiful nightmare Either way I don’t wanna wake up from you (Turn the lights on) Sweet dream or a beautiful nightmare Somebody pinch me, your love’s too good to be true (Turn the lights on)”

So this state of mind control can be a sweet dream, which is a blissful state where the boundaries between reality and fiction are blurred. It can also be a nightmare due to the traumatizing treatments, the mental anguish and the fact that being a Monarch slave is probably the worst thing that can happen to anyone.  Sweet dream/Beautiful Nightmare also describes the dichotomy between Beyonce and her dark alter-ego Sasha Fierce. As Patton stated in his discussion of mind control:

“A division of light-side (good) and dark-side (bad) alters are interwoven in the mind and rotate on an axis.” -Ibid.

“My guilty pleasure, I ain’t going no where Baby long as you’re here I’ll be floating on air”

“My guilty pleasure” refers to the fact that she knows that this state of synthetic bliss is false and ultimately harmful to her. But as long as her controller is there, she’ll be “floating on air”. This is especially significant when one knows that subjects of Monarch programming get a feeling of light-headeness, as if they’re floating.

“I mention you when I say my prayers I wrap you around all of my thoughts Boy you’re my temporary high”

There is here a mix of the “scientific” mind programming with the occult ritualistic aspect of it. The “controller” is often interchanged with Lucifer and “mind control” can be interchanged with spirit possession. As Ron Patton stated, ancient occult knowledge, rituals and magick are incorporated in the programming of the subject. The person sees the controller as a god, or Lucifer, who possesses his/her soul and thoughts. Beyonce says she mentions the name of her controller (or Lucifer) when she says her prayers.  She wraps her controller around all of her thoughts which is a nice way of saying that the possessor is in control of her thoughts.

“Tattoo your name across my heart so it will remain Not even death can make us part What kind of dream is this?”

She is basically saying that she gave her soul to her controller aka Lucifer. “Not even death can make us part“, conveys an obvious spiritual meaning. The only thing that remains of us after death is our soul. She says that even after death, her soul will still be owned by her possessor. As in all works of art, the lyrics could be interpreted in numerous ways. The video however confirms the mind control theme of the song by visually representing the steps, the symbols and even many “triggers” associated with Monarch programming.

Video Analysis

So what is the message of the video? Yes, I know Beyonce is “hawt”. Now that we got that out of the way, we can look past her hawtness…There’s way more to that video than hypnotic robot breasts. The video starts with Beyonce sleeping to a creepy lullaby tune. A dove appears and levitates Beyonce from her bed while the lullaby gets increasingly menacing. This scene ends with a scream of terror.

beyonce-sweet-dreams

In Christian symbolism, the dove represents the Holy Spirit. There’s however nothing “holy” about that scene. The scene is dark, the music is ominous, Beyonce is troubled and she gets lifted in what looks like a feat of black magick. To find the true meaning of that dove, one has to go into its occult meaning.

“Helena Blavatsky, an occultist, Luciferian, magician, Mason, and founder of the Theosophical Society, along with Masonic author Albert Pike, in their writings of this belief, that Lucifer is the holy spirit. Pike, referred to the Holy Ghost, when he wrote, “the body of the Holy Spirit, the universal Agent, [is] the Serpent…”

The Holy Spirit of Occult Orders, the liaison between the earth realm and the heavens, is Lucifer. This is graphically represented on the lamen of the Luciferian fraternity Ordo Templi Orientis.

Ordu Templi Orientis

Lamen [My comment: lamentation] of the O.T.O. Upside dove = Fall of Lucifer?

So in the first scene of the video, we see Lucifer lifting Beyonce from her bed and sending her to a kind of weird heaven. As stated above, the song is at the same time about Lucifer and Beyonce’s mind controller. So the dove also represents the controller making Beyonce feel light-headed from Monarch programming. Beyonce is sent into an “alternate world” with an omnipresent rainbow, a symbol associated with Monarch programming. We often see in the video multiple Beyonce’s colliding into one or the opposite, which represent her alters or minions. If you look closely at the backup dancers in one particular scene, they are literally broken in half, as if they are not activated.

beyonce-sweet-dreams-2

Notice the rainbow, the importance of the light source (Lucifer = god of Light)…And is this a pale horse running in the background?

In this symbolic scene, Beyonce is in a mirror room, not knowing who the “real Beyonce” is. This scene refers to the dissociative nature of mind control, not to mention that mirrors are an all-important symbol of Monarch Programming.

Mirror reflections symbolism

Mirror reflections symbolism

She then shatters a mirror and fragments fly all over the place, which represents the fragmentation and compartmentalization of her consciousness, an important prerequisite in order to create a new alternate personality in Monarch programming. Then it happens. The shiny new robot Beyonce, the new programmed alternate personality is born.

[My comment: Beyonce is a major proponent of transhumanism from the Metropolis (1927)film in her videos and performances] New controlled Beyonce trying in vain to get back the fragments of her consciousness

[My comment: Beyonce is a major proponent of transhumanism from the Metropolis (1927)film in her videos and performances]
New controlled Beyonce trying in vain to get back the fragments of her consciousness

In Conclusion

Beyonce’s “Sweet Dreams” describes the blissful journey of a mind control subject towards its new persona. Even if that process is insanely painful and nightmarish, the subject is programmed to enjoy it, hence the phrase “either way, I don’t want to wake up from you“. Numerous symbols and mind control triggers are included in the video and, combined with the dissociative lyrics, the song leaves no doubt to those “in the know” of its occult meaning. Why are there allusions to Lucifer and mind control in the video and many others? What’s the purpose of it? Is it supposed to have an effect on the viewers? Are these types of videos megarituals acting on the subconscious of music fans? Are they preparing (programming) the new generation to accept those things as a reality? Those are questions I’m still attempting to answer. One thing is for sure: when one realizes that Beyonce’s incredible beauty and talent are used to promote such horrors, the video becomes indeed a “beautiful nightmare”.

ON THE FLIPSIDE INSTEAD OF “HUSH LITTLE BABY [DON’T YOU CRY]” (lullaby):

What happens when you make a real dream connection and it works? It works by itself – even without/continues without the tech/virtual reality/cgi and ‘others’? Better than an arranged match? And then arranged matches get in the way of the two people who found each other?

You get re-named, they try to give or even make you into an alter-ego; here’s some of the things I’ve been called (some by ‘people’ who compare themselves to the tv show characters from ‘Mad Men’):
Venus.
Various Goddess names.
Elenor King.
Joseph of Arimathea.
Delilah.
Queen of Sheba.
Runt.
Cybernetic (told me to look this up in a legal dictionary).
Hybrid.
Psychotronic whore.
Mad Max (Max from Dark Angel).
Mollusc.
Hamlet.
Heaven.
Helen of Troy.
Panther.
Samead.
Sham of a Lamb.
Blacksmith.
Archer.
Hammer.
Songs from Sleeping Beauty.
Hound/Bull dog (tenacity).
Susie Q (not sure what that was about but when I read about the woman who was used in the US-Iraq situation where she said Iraq wasn’t responsible/weren’t doing the things the US claimed, the group here didn’t like it.)
Ventriloquest’s dummy.
Juggonaut (idol of Krishna – perhaps a double meaning though).
Constant references to wine – even “you’re not White wine” (and Dionysus – god of wine and madness), also one day “we broke bread for you” and constant bread references, but mostly fish and chicken & egg words Ugly duckling.
Weirdest of the bunch.
Pick of the litter.
Not the best, not the worst. The Best and the Worst.
Mona Lisa.
Barbie.
Nun.
Avatar.

Well here’s possible answers to Love Bites and programming:

The Ting Tings – That’s Not My Name:

Rogue Traders – Voodoo Child:

But this is more my style:

Rogue Traders – Watching You:

And this is my message:

ROGUE TRADERS – I NEVER LIKED YOU:

————————————————————————————————————————————-

TODAY IS:

International STAND UP to Bullying Day takes place on February 24, 2017. This day is a special semi-annual event in which participants sign and wear a pink shirt to take a visible, public stance against bullying. The color of the shirts is based on a campaign started by Travis Price and David Shepherd, two students who took a stand for a fellow student who was bullied for wearing a pink shirt to school. International STAND UP to Bullying Day takes place in schools, workplaces, and organizations in 25 countries across the globe on the third Friday of November to coincide with Anti-bullying week, and then again on the last Friday of February. The day was first observed in February 2008. – With text from Wikipedia

AND (the dragon and the lady):

Dragobete is a traditional Romanian holiday observed on February 24, 2017. Baba Dochia also known as The Old Dokia is a spring related figure of Romanian myth and her son called Dragomir is honored and celebrated on Dragobete. It is the time to release mankind’s patience because they both stand for the return of the spring season each year and as a sign that people have overcome winter time.
Modern observations of Dragobete are comparable to St Valentine’s Day with various local customs in Romania in Southeast Europe. When birds start to become very lively again on Dragobete lovers have a day on their own to celebrate love and spring. The Romanian used to say “Dragobete kisses the girls” meaning that this is a perfect day to receive first kisses. – With text from Wikipedia.

[My comment: Don’t kiss any reptiles people! They thirst for more and never go away!]

I was going to write this post on 4th February 2017 which was:

Rosa Parks Day:
USA National Day but deserving of International Status:
Rosa Parks Day is observed on February 04, 2017. It is an American holiday celebrated on February 4 or December 1 in honor of the civil rights leader Rosa Parks. Rosa Parks Day was created by the California State Legislature and first celebrated February 4, 2000. The holiday was first designated in the U.S. state of Ohio championed by Joyce Beatty, advocate who helped Ohio’s legislation pass to honor the late leader. Rosa Parks, also known as “the first lady of civil rights” spurred the Montgomery boycott in 1955 as she refused to give up her seat in a bus to a white passenger. With text from Wikipedia.

AND

Create a Vacuum Day
There is something to do on February, 04 2017 as it is Create a Vacuum Day. It can be a real challenge to create a true vacuum and without technical equipment it is unmanageable on earth. A vacuum accrues with the total absence of any kind of material, including air. The origin of Create a Vacuum Day is not documented but the options to take part in it are numerous.

Everyone can live out or discover the joy of applied physics and meet to create a vacuum – all you need is power. Syringes or vacuum blowers can at least create a space very similar to a vacuum. The perfect vacuum, which is sadly out of reach for the most people is the universe, so if you are not able to create your own vacuum, take a look at the sky and imagine how it might feel like to feel absolutely weightless because there is truly nothing around. – With text from Wikipedia.

I was really disappointed with ‘Create a Vacuum Day’ since there’s no way I could make one – makeshift insulated rooms, electromagnetic shielding – faraday cages, carbon Black, insulating fabrics, frequency disrupter/layers/neutralizing, light/sound patterns etc are one thing but in competition with constantly improving tech what can you do? But then I thought of these:

https://en.wikipedia.org/wiki/Anechoic_chamber

I hadn’t realized that they’re being updated to include all radio frequency/wi-fi/radiation – basically all invasion possible as well as blocking out just the stuff you don’t want and concentrate on the ones you do.

Just gimme one of these for a few months and I’m sure my body would heal completely but it’d probably take a year for my mind to probably heal. Most people can’t stand silence, real silence and I can understand that – because there is no silence, you hear your body at full blast – your heart beat from different points in your body, your blood moving, noises in your ears, your breath etc hence you have to shut your thoughts off to make it through. It’s only for those who like true solitude/comfortable with themselves – like those people who train in mediation/martial arts sitting under/near waterfalls with so much noise that it blocks the outside world and helps them concentrate. The rushing water/external noise allows them to practise blocking out such interference and focus on themselves. Stillness and silence = total rest.

radio-frequency-anechoic-chamber

Radio frequency anechoic chamber, Antennas Research Group, Democritus University of Thrace, Greece. The interior surfaces are covered with pyramidal Radiation Absorbent Material (RAM) which are made of rubberized foam filled with mixtures of carbon and iron.

U.S. Air Force photo by Samuel King Jr./Released - https://www.flickr.com/photos/usairforce/15710179866/ A 40th Flight Test Squadron F-16 Fighting Falcon sits in the anechoic chamber after completion of the initial round of testing simulations on the new M-7 software upgrade Oct. 30, 2014, at Eglin Air Force Base, Fla. The M-7 software package will provide multiple advanced capabilities to the aircraft. The anechoic chamber is a room designed to stop reflections of either sound or electromagnetic waves. The room is insulated from exterior sources of noise. The room is part of a facility that allows testing of air-to-air and air-to-surface munitions and electronics systems on full-scale aircraft and land vehicles prior to open-air testing. (U.S. Air Force photo/Samuel King Jr.)

U.S. Air Force photo by Samuel King Jr./Released – https://www.flickr.com/photos/usairforce/15710179866/
A 40th Flight Test Squadron F-16 Fighting Falcon sits in the anechoic chamber after completion of the initial round of testing simulations on the new M-7 software upgrade Oct. 30, 2014, at Eglin Air Force Base, Fla. The M-7 software package will provide multiple advanced capabilities to the aircraft. The anechoic chamber is a room designed to stop reflections of either sound or electromagnetic waves. The room is insulated from exterior sources of noise. The room is part of a facility that allows testing of air-to-air and air-to-surface munitions and electronics systems on full-scale aircraft and land vehicles prior to open-air testing. (U.S. Air Force photo/Samuel King Jr.)

Here’s a film that incorporates activism and sensory deprivation; it affected me greatly at a young age and I still feel it – major respect to Helen Keller and her teacher Anne Sullivan

The Miracle Worker (1962)

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What not to look forward to on Valentine’s Day

Today is ‘International Puzzle Day’ (yes I try to do a jigsaw and a wordsearch at least, every day) but here’s a good puzzle – why do people find vampires appealing? Physical, emotional and psychic?

Here’s an example of a very common type of human vampire that the media have always pedaled as attractive (much like Rhett Butler’s rape of his wife and her apparently liking it the next day in one of the most popular films of all time, ‘Golden Hollywood”s Gone with the Wind (1939) – and yes it was ‘legal’ to rape your wife in the UK up until 25 years ago and still is in many parts of the world – and the gang rape in Saturday Night Fever (1997)) and people just eat it up. Buying into this just keeps the abuse going.

Apparently the first book was so badly written it was a wonder as to why it became a bestseller and neither the book/film did anything for connoisseurs of S&M actually annoying and insulting many and yes even anti-feminists agreed. So why the follow-up and why on V-Day? What type of gift is that? “Me caveman, you woman, here come and let me beat you then rape you and make you say you wanted it.” Yeah… No thanks, and die while you’re at it.

And Fifty Shades Darker? Excuse me, darker? Who would fall for that ‘man’ unless under hypnotism/coercion? How is it romantic to watch this? At least in Pretty Woman (1990) (a film I didn’t like and couldn’t see the point in its popularity other that it was a typical boy/girl from different sides meet story) they showed that prostitutes get raped and are human with interests/hobbies instead of glamorizing it. Sidenote – Julia Roberts has done a lot of great feminist films, one in this category being Sleeping with the Enemy (1991).

national-center-on-sexual-exploitation-campaign-fifty-shades-of-grey-abuse

My comment: See how they’ve made her look sultry instead of manipulated?

national-center-on-sexual-exploitation-campaign-fifty-shades-of-grey-abuse

https://www.thunderclap.it/projects/52480-fifty-shades-darker-is-abuse
and
http://endsexualexploitation.org/fiftyshadesgrey/

Organizer:
National Center on Sexual Exploitation
@ncose

The #FiftyShadesIsAbuse campaign is a global campaign led by London Abused Women’s Centre, Canada, Collective Shout, Australia, and Culture Reframed and The National Center on Sexual Exploitation (NCOSE) and joined by many other groups around the world.

Hollywood is portraying the Fifty Shades trilogy as a risqué, passionate romance. The second film in the Fifty Shades franchise, Fifty Shades Darker, is set to be released on Valentine’s Day. But is this a love story?

Christian Grey, the male lead, exhibits the traits of an abuser through possessive, manipulative, and coercive behaviors, including frequent stalking. Having introduced a younger, inexperienced college girl to the world of sadomasochistic sexual abuse in the first film, in 50 Shades Darker Christian becomes obsessed with his latest sexual submissive and proposes marriage.

As in the first film, Anastasia Steele, his “lover,” is consistently isolated, threatened, and manipulated, yet she comes back to Christian and agrees to marry him because she thinks her love can change him. As the story progresses, Ana, who was first fearful and disturbed by Christian’s dark and violent sexual practices, gradually comes to desire rough sex.

The 50 Shades series is permeated with graphic scenes of sex and sexual abuse. Its lead male character exhibits classic hallmarks of an abuser, and yet Hollywood is portraying his relationship with Ana as a sexually titillating Cinderella story.

This movie, and the entire Fifty Shades franchise, glamorizes and legitimizes both sexual and domestic abuse. In real life, women in these situations don’t end up like Anastasia—they end up in a woman’s recovery agency, on the run from their abuser or, sometimes, dead.

Help take a stand against the normalization of abusive relationships and join our Thunderclap to schedule the social media post, “It’s time for Hollywood to stop sending the message that domestic abuse is sexy. #FiftyShadesIsAbuse” and visit FiftyShadesIsAbuse.com to find additional ways to get involved.

You can also donate $10, $25, $50 or whatever you can afford to help the women experiencing the real-life version of Christian and Ana’s abusive relationship. Donations can be made to any domestic violence agency in your area – share that you made a donation online with the hashtag #50DollarsNot50Shades so we can help promote it!

If you are in the United States you can find a list of women’s recovery agencies at DomesticShelters.org. There is even a “wish list” of specific items for which these organizations have need.

A trilogy of this rubbish? A Cinderella story? I’m not one for fairytales let alone their programming (and ‘loving’ psychotic handlers, waiting for princes and vampires are part of human culture/legend/history so Fifty Shades pays tribute to that) but I prefer modern takes on them like Brave (2012) and Malificent (2014) (sans Disney who were/are very much part of the problem and they’re begging the re-surging/upcoming Dark Mother planetary re-consciousness for forgiveness whilst acting innocent with Brave and Malificent).

And here are the ‘new’ vampires:

artificial intelligence robot laws

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Making the Unreal Real – Playing Games with Lives – Thieves Who Make Confusion Are Really The Monsters

What if you could engineer a situation where you take a ‘regular Joe/Jane’ or someone slightly ‘different’ and even better ‘alienated’ and turn them into whatever you wanted?

I watched this film when it came out with a friend of mine, it was the last movie we went to see before going our separate ways and I think it was me who chose to watch this one because it had the longest running time but by the end of it we realized we should have chosen a comedy.

Anyway I’m not going to review it but here’s some info from Wiki:

https://en.wikipedia.org/wiki/The_Cell

The Cell is a 2000 American science fiction psychological thriller film and the directorial debut of Tarsem Singh, starring Jennifer Lopez, Vince Vaughn and Vincent D’Onofrio. It received mixed reviews upon its release, with critics praising the visuals, direction, make-up, costumes and D’Onofrio’s performance, but commenting on the Silence of the Lambs-inspired plot, the emphasis on style rather than substance and the somewhat masochistic images.

Plot

Child psychologist Catherine Deane (Jennifer Lopez) is an expert in an experimental treatment for coma patients: a virtual reality device that allows her to enter into the minds of her patients and attempt to coax them into consciousness. When serial killer Carl Rudolph Stargher (Vincent D’Onofrio) falls into a coma before the FBI can locate his final victim, Agent Peter Novak (Vince Vaughn) persuades Deane to enter Stargher’s mind and discover the victim’s location.[1] Stargher’s victim is imprisoned in a cell in the form of a glass enclosure that is slowly filling with water by means of an automatic timer.

Deane enters Stargher’s twisted mind, where she is confronted by both the violent and the innocent parts of the killer’s psyche. The innocent half shows her the abuse he suffered at his father’s hands and the birth of his pathology when he drowned an injured bird as a mercy killing. Deane attempts to nurture the innocent side of Stargher’s mind, but his murderous half thwarts her at every turn.

Despite Deane’s best efforts, she becomes trapped in Stargher’s dark dreamscape. Novak volunteers to enter Stargher’s mind and attempts to rescue Deane. He frees her from Stargher’s hold and discovers clues to the whereabouts of his victim. Novak relates his revelations to his team and they are able to track down the location of Stargher’s victim (Stargher had been entrusted by a company to take care of an advanced water pump, which he used to fill the cell with water). Novak discovers Stargher’s secret underground room and saves Stargher’s victim just in time. Meanwhile, Deane decides to reverse the process and pull Stargher’s mind into her own. She presents Stargher’s innocent side with a paradise, but his murderous side is always present and manifests as a serpent. This time, however, Deane has all the power; she attacks the serpent/Stargher only to discover that she cannot destroy one half without killing the other. Stargher’s innocent side reminds her of the bird he drowned, and she kills him to put him out of his misery. She adopts Stargher’s dog and successfully uses her new technique on her other coma patient (Colton James).

Artistic influences

Some of the scenes in The Cell are inspired by works of art. A scene in which a horse is split into sections by falling glass panels was inspired by the works of British artist Damien Hirst. The film also includes scenes based on the work of other late 20th century artists, including Odd Nerdrum, H. R. Giger and the Brothers Quay. Tarsem—who began his career directing music videos such as En Vogue’s “Hold On” and R.E.M.’s “Losing My Religion”—drew upon such imagery for Stargher’s dream sequences. In particular, he was influenced by videos directed by Mark Romanek, such as “Closer” and “The Perfect Drug” by Nine Inch Nails, “Bedtime Story” by Madonna, and the many videos that Floria Sigismondi directed for Marilyn Manson. During a scene, Jennifer Lopez falls asleep watching a film; the film is Fantastic Planet.

This is not to justify anybody with such behaviours on either side i.e. the mind control/mind raping/soul destroying side of the ‘security surveillance’ nor the violent, inhumane psychopath they just happen to be following in the film – but just how far would ‘people’ would go to make someone into one ‘side’ or the other, why and how they’d get away with it. A bit like the film ‘Inception’ (2010).

Oh and btw looking up ‘cybernetic’, ‘psychotronic whore’, ‘mollusc’, ‘hybrid’, ‘drone’ and a whole load of other crap doesn’t apply to me, especially the ‘Myra Hindley’.

Note – I mentioned Fantastic Planet HERE titled ‘Who/What are the Blue Beings, why are we inspired by them? Although being a US film it could also conveniently be a dig at the former USSR, like the English and the French the ‘feud’ never ends.)

The Cell Jennifer Lopez Movie Film Symbolism

Hell in a cell i.e. invisible yet visible prison.

The Cell Jennifer Lopez Film Movie Symbolism

Her work clothes – one ‘body suit’ which…

The Cell Jennifer Lopez Film Movie Symbolism

… She conveniently changes for another and with a mask whilst in his mind – notice the placement of the lights (sun/star and pillars).

The Cell Jennifer Lopez Film Movie Symbolism

How very similar to the enemy. Looks is one thing, acting like these people (‘good’ or ‘bad’, or the fake ‘light’ or ‘dark’) is another – some people make great game/targets for ‘change’ to players.

The Cell Jennifer Lopez Film Movie Symbolism

He’s a bad bird now that needs killing (apparently mercifully) – and to do so the ‘good’ side go into the mind or as some could call it ‘the astral plane’ to do the job.

The Cell Jennifer Lopez Film Movie Symbolism

So it’s ok for her to play Mother Mary now (as well as the Red ‘whore’/’prostitute’ double meaning but with White for the ‘good’ ‘purity’ side.)

The Cell Jennifer Lopez Film Movie Symbolism

And then the Dark Mother (wannabe) with the Red and Black. (Note that Mary was never a Mother Goddess or even a Goddess.)

The Cell Jennifer Lopez Film Movie Symbolism

Black and White – both extremes, two sides of the same coin, both beautiful; unfortunately here she’s portrayed as a Goddess, even a Warrior Goddess as a rider. Both the violator (the security/watchers) and the violated (here the child was violated and became a violator) are metamorphosed.

The Cell Jennifer Lopez Film Movie Symbolism

Hmm, decide for yourselves.

There is a heck of a lot of symbolism (including religious) in this film which you can see from the pictures and it makes for a very gruesome metaphor, the film is practically a vehicle and anybody wanting to explain or interpret it could have a field day. Again I’m not going to bother right now (maybe later) but basically it shows in a subtle yet obvious way (subtle i.e. artistically and easy to dismiss for those not really looking and hidden in plain sight for those who ‘know’ or think they/we do) both ‘sides’ are one and the same ultimately (so you have to be careful if you’re in the middle and not affiliated lol). Just to point out the use of the serpent and the mercy killing of the bird were streamlined, initially in the film they seemed like ‘good’ and ‘bad’ but ultimately they can and were used together as one thing such as winged serpent beings or Caduceus, or in this case for transformation. An innocent is turned into a villain and taken out by super villains acting as good folk. It’s ironic, Mum and I once shared the same dream on the same night and we both had the same reaction, both involved the killing of an innocent bird and right afterwards three ‘interesting’ networks came along. It’d be more interesting however to look into the ‘history’ of the symbolic so-called cat people [or at least group of] being conquered by a group of serpentine people, I hesitate to call them reptile/reptilian since it’s getting more complicated nowadays with the ‘groupings’.

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POW/MIA Recognition Day

National POW/MIA Recognition Day is celebrated on September 16, 2016. In the United States, National POW/MIA Recognition Day is observed on the third Friday in September. It honors those who were prisoners of war and those who are still missing in action. This day was established by an Act of Congress, by the passage of Section 1082 of the 1998 Defense Authorization Act.

It is one of six days that the POW/MIA Flag can be flown. The POW/MIA flag was first recognized by Public Law 101-355 in 1990. The POW/MIA flag should fly below, and not be larger than the United States flag. It is generally flown immediately below or adjacent to the United States flag as second in order of precedence. (With material from: Wikipedia)

I find this truly hypocritical. A superstate which has a ridiculously high amount of inmates, exploitation of those inmates, torture as a norm and increasing amounts of ‘regular’ people saying they’re being tortured by things like gang stalking and direct energy weapons (‘through the wall’ etc tons of info by people like Kerry Cassidy) and of course international ‘torture without borders’.

That said (as usual) I like the ideal of such days/memorials.

To digress it reminds me of when David Blaine performed one of his amazing feats of willpower – a 6 week ordeal – but left the US for the UK to do so, London of course. I decided to visit him whilst wearing my ‘Ox-blood’ coloured long leather coat (before I was vegan obviously; interestingly a certain Foe knew about it and used it in an ‘induction party’ image/scene even though I only ever wore it twice and I’d wanted bright Red/Crimson blood but ended up with that kind of dark Red/Burgundy bought on my behalf, funnily enough it was lined with Red/Green luminescent/shiny/two tone fabric). David was in a transparent glass box/cage (see tv show ‘Sapphire and Steel’ 1979-82 Assignment Three, or even better/a more up to date see-through invisible prison scenario movie ‘Escape Plan’ 2013) and was on a liquid diet, throwing his nappies out of the box down to the public/a container underneath. I got his attention for a while (I found the fast food stand right next to him [and the bin] very tacky) but then I turned my back on him to look at the river and as usual when you’re by yourself someone just has to bother you. An older man came up to me and started talking about his dead ex-wife, how much he missed her and then about freemasonry and his life. What a convenient location for such monologue-ing (I wasn’t really listening).

Sapphire and Steel Assignment Three

(Sidenote – I thought Assignments 1 & 2 were the best for both storyline and production out of the 6; the 1st covers the use of fairytale/rhyme/storytelling for delivering esoteric information and making it [too] memorable, the 2nd covers the use of soldiers and sacrifice – they’re poignant and creepy. Exempting the finale all cover the accumulation of presence/energy/our energy in a place over time and how that effects us from ‘sick building syndrome’ to poltergeist activity and ghosts. For some the gem and metal codename combinations might be interesting.)

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The Adolescence of Utena – A Rosicrucian Telling of the Daughter & Mother

On a sidenote – today is the memorial day for Hiroshima, the atomic bombing of Nagasaki.

I was going to try and explain at least some of the symbolism of the rose but there’s so much of it and whilst similar it varies from Order to Order, age to age. Ultimately though it’s like the opposite of the lotus – whereas the Iris/Lily/Lotus signifies knowledge an enlightenment the rose represents (also in its multitude of layers) silence and secrecy regarding knowledge.

It’s easier to use a visual aid and ‘The Adolescence of Utena’ (1999 film) is a very apt one. It’s a summarized version of the anime series (1997) ‘Revolutionary Girl Utena’ (of course based on the manga (1996-7) and it’s one big metaphor. The whole thing, there isn’t anything in it that isn’t symbolism and yet at the same time hidden in plain sight truth. Whereas the longer manga and anime can be seen as ‘coming of age’ stories (and they are exactly for some of us) the film tells it like/as it is. (Bear in mind that adolescence is the activation stage for Goddess grooming, girl becoming physical woman with the sacred blood – Red rose from White rose, Mother from Daughter – at puberty, and puberty is artificially getting younger and younger with pharma-drug-faux-food culture but especially age 15/16, the height of teenage/feminine ‘beauty’. Evil, nasty, psychotic politco-religious bastards.)

There was once an Indian girl called Anthy (Anthony – look up the meaning and origins) and she was conquered by her false brother/the masculine. Her brother was known as ‘the prince’ or the Headmaster’s son (right away you’ve got the school and indeed mystery school symbolism), he wasn’t her real brother but pretended to be – took the title, to have the association. He put her to sleep (made her into a ‘living corpse’) and raped her in that state. The thing is, she wasn’t totally asleep, we don’t even know if she was ever asleep in the way we think it – but more like in a different state of consciousness and that state took her to a different place (like how the ‘traditional’ story of Kali – a root Indian goddess, one if not the oldest still known/living in the world – being pushed into a sexual frenzy and losing herself). With the capture of Anthy things changed.

From thence a Castle of Eternity arose, a mind boggling, twisting, tardis of a school/building/place/’dimension’, before that I’d guess the question of mortality/immortality wasn’t as important. It’s with the wars of the gods and others, the bargaining, the game playing and mixed breeding where it became sought – maybe because the innocence was lost?

The Gate and in this case trap/prison

The [arch] Gate and in this case trap/prison, its shown before the first duel so representative of the outer layer/courtyard, the gate to the other two major sections of the masonic temple/kingdom.

Anyway, the cartoon shows Anthy as already captured and in ‘custody’ of her ‘brother’ (we never see the Head Master), Anthy is now what is called the Rose Bride i.e. a prize in an elite tournament of ‘duelists’ (mostly male competitors but some female) where she has to do the bidding/grant the wishes of any one that ‘wins’, they win her, they think of her as their possession rather than a living being with thoughts and feelings, and they treat her as a sex toy. Which is why when her exhibitionist, popular and well loved/admired/respected ‘brother’ rapes her she doesn’t realize she’s been raped because that’s what she’s used to and is overawed by him when actually he’s the one in awe of her power (and hence desirability) so seeking to possess it even in the most insidious ways.

Totally Rosicrucian

Totally Rosicrucian

When he sees that she wasn’t actually asleep like he’d intended he gets hysterical because he’s been caught out and doesn’t want everybody to find out, he’s already lost his keys (get to that later) and so is subject to mortality/damage/going rusty and now he’s lost his marbles *ahem*. He [nowhere near really] gets what he deserves…

Note: Anthy wears a bindi which traditionally is a sign of marriage but it’s also an unacknowledged sign of the the third eye (hence women’s sindoor is made of toxic chemicals/colours and not the men’s).

Fast forward in time and cue a rose haired (colour – Pink in the day, Rosé at night) girl who has come to the school looking for her long lost prince (by this time duellists who are participating for the title/place of the illusory/dead prince are called princes and some princesses). She’s different though, in this modern age a real Princess is called a Prince (the ‘son’, the male messianic figures etc based on the Daughter) and she’s come to the school dressed as a Prince whilst not claiming to be male. (Like in Wonder Woman.) It takes this secret Princess/Prince to rescue the old India Earth Goddess (Anthy and notice that Anthy & her ‘brother’ are the only Brown skinned characters in the film but he is lighter in bother skin and hair signifying that he is younger) i.e. the Daughter rescuing the Mother. It’s shown as a sensual relationship and most would consider it lesbian/sexual but remember the old Goddesses are sensual, they feel/experience acutely because they are one with nature (can also be thought of as a ‘revelation’/exposing/stripping the false layers) – what it’s showing is that the Daughter & Mother become one again. The Divine Feminine. They even do the ‘dance’ as well, the dance representing time, space, cosmos and which the bastard Shiva has become known for.

Utena Anthy Rose

Interestingly when Utena (the rose princess/Daughter, not the rose bride/Mother) duels she transforms, unlike the other contestants; she gets her hair back and looks more feminine/beautiful. She also has access to the a secret sword/weapon directly from the Mother. Not even the other female contestants do that because they’re not real/original women, they’re a product of the usurper society and playing the game for their own ends. Utena is the only one fighting for Anthy’s sake, wanting to be by her side because of how she is treated and to stop others from hurting her. Initially she also fights with a broom, i.e. the sweeper/cleaner goddess symbolism which has later become associated with monks in a monastery (priest schools, secret, snobby, schools where knowledge is passed on to the ‘worthy’ master-servant style – in that sense the ‘little old man/cleaner’ is always the wisest, and sometimes underestimated with his secret, smug smile – hey I’m not knocking smugness, sometimes it’s necessary…)

Showing that this is linked back to ancient India is the use of vehicles (which I tried to talk about in Momo); it’s kind of awkward to explain but modern vehicles aren’t so modern. If you lookup Vimanas for example you’ll see where the modern/streamlined version of gods/demons flying around on animals comes from. A vimana was a high-tech vehicle to travel in, they weren’t limited to sky travel, they could also be used on land and water; there’s schematics for such vehicles in old scripture (as well as a ton of ‘alien’ – not really alien though, just other beings on this planet – imagey carved in stone and drawn in artwork throughout world culture). They could be called spaceships simply because they traverse space (and water is used in the cartoon to symbolize the barrier/difference between life/death, awake/asleep worlds too) but that doesn’t make them alien as in from another planet necessarily. Basically the duellists change into cars so that they can reach the ‘outside world’, a ‘modern’ version of a horse but unlike a horse or other animal, a car is an exo-skeleton (remember the use of bones in She-Ra), a vessel. A vessel for what? Some say the spirit, others the soul, others the mind, consciousness (remember the spirit and the soul aren’t necessarily the same ‘thing’ either).

Horned and serpentine

Horned and serpentine

When Utena wins the tournament instead of owning Anthy she tries to free her, tries to take her out of the closed/false/crazy world to the ‘outside’ and so she transforms into a car (a super car – note to self: funny how a certain astrologer used a Formula One racing metaphor for me to see recently) and of course the closed world/security/surveillance tries their darnedest to stop them. Interestingly it starts off with a race track where other duellists have transformed and chase them, but they are driverless – they don’t have Anthy – they don’t have the innate power, the spirit nor the soul.

Anthy/Utena face many more obstacles and Utena is worn down badly. We can finally see the whole castle (‘castle in the sky’ which you get in a lot of these hinting stories e.g Laputa) is just a glowing ‘illuminated’ construct, a block between worlds, a distraction and the dead/illusory prince/’brother’/ghost beckons Anthy back “come back and be a living corpse, a living corpse” because that is the only way he can survive even if its only a memory, a ‘title’ that princes dreaming to fulfill his role/place fight over.

Remember the palace/castle from The NeverEnding - Story - the SAME GUY who wrote Momo.

Remember the palace/castle from The NeverEnding – Story – the SAME GUY who wrote Momo.

Needless to say there are false friends a long the way, hidden friends, fairweather friends and unlikely friends. You can never trust anybody because at one moment they’re treating you like sh*t, the next they’re apparently supporting you, you just never know, it depends on the circumstances and what they want to get out of it. The castle however is a towering inferno (Utena has been the accelerant for the Fool, the Hanged Man, the Blasted Tower and The Magician saving the High Priestess, Empress and World – adding my own tarot metaphor there) and people want out or at least change so its in their best interest to help the duo.

Utena gives Anthy ‘Hope’ (in typical Daughter style) and Anthy gives her the ‘Wisdom’/Knowledge/Experience (in typical Mother style) and together they are/have the ‘Power’.

The crosses (originally a Goddess symbol) are sneakily added amongst the roses in typical Rosicrucian fashion (the ‘hidden in plain sight’ sneaky yet totally flourishing signature ‘WE’RE HERE, WE DID THIS, LOOK AT US AND BASK IN OUR GLORY – which we took/live through vicariously’ style and remember that Anthy is the sacrifice/loss of innocence), making it appear as if they’re the backbone/structure/support for roses in a garden. (Remember some wild roses are edible – e.g. dog roses (rosa canina) which both feed/nourish you and provide/are protected in that the bulbs contain itching powder typifying Mother Nature but modernized/masculanized with the ‘dog’ which has also become an insult, using the ‘feminine’ of something as an insult and ‘dog’ being ‘man’s best friend. I’ve noted the use of cats and dogs in symbolism before but also dogs are purported to be used in bestial ways for ritual programming. The garden variety are cultivated which says it all really, the orchestrators of society, man vs Nature, Man over Nature – very Italian and Eurocentric mindset in general in its gardening ethos – ‘Europa’ meaning trapped goddess.)

All duellists are given a ‘ring’ which seals the deal (like in marriage, and those who ‘win’ the tournament are ‘engaged’ to Anthy).

The cartoon also hints at systematic abuse of the contestants/students/players or at least some of them who are groomed, bought and sold; and it’s decided when they are children by adults, including their so-called parents/guardians. The whole thing is ritual abuse.

Here’s an interesting review:

http://intersections.anu.edu.au/issue5/charlton_review.html

Intersections: Gender, History and Culture in the Asian Context

Issue 5, May 2001
Dir. Kunihiko Ikuhara
Utena: Adolescence Mokushiroku
(The Adolescence of Utena)
Colour animation, 74mins, Japanese, Japan 1998. – Reviewed by Sabdha Charlton

Anthy and the rose seal the world

Anthy and the rose seal the world

If it cannot hatch from its shell, the chick will die without ever truly being born. We are the chick; the world is our egg. If we don’t break the world’s shell, we will die without truly being born. Smash the world’s shell, for the Revolution of the World.

1. As its name suggests, revolution (kakumei) is a key theme in the suite of productions that go by the name Revolutionary Girl Utena (Shoujo Kakumei Utena). Like many other Japanese manga, it is a story that has appeared in three formats – as a printed comic (manga), a television series, and a film (known in English as Adolescence of Utena). Each of these formats tells more or less the same story, with more or less the same characters, and though there are also significant differences between the three versions, they all have in common a narrative trajectory that climaxes in a revolution that destroys the world of the story and releases the main characters into a new world. This review will concentrate on the film, with some reference to the series.

2. Adolescence of Utena is a richly detailed and visually stunning film, with a storyline so complex that it is impossible to do it justice here. It occurs in what is commonly known as an alternate universe; that is, the story and characterisations differ significantly from the series, rather than being contiguous with Figure 1. Utena, Anthy and the Rose Seal the world set up in the series. Briefly, the film revolves around a pink-haired, boyish girl called Utena Tenjou, an eighth grader at the Ohtori Academy. When she arrives at the school, she receives a ring with a rose pattern on it from the centre of a white rose. Her old boyfriend, her ‘prince’, Touga Kiryuu (who we later learn is actually dead, and thus a figment of her imagination) also possesses a ‘rose seal’ (bara no kokuin). Utena soon meets other members of the school who wear the rose seal, and she learns that the wearers of the seal must duel each other – the winner of the duel is then engaged to Anthy Himemiya, the Rose Bride (bara no hanayome).

The possessor of the Rose Bride receives her services (sexual and otherwise), but, more importantly, also possesses the ‘power to revolutionise the world’ (sekai o kakumei suru chikara). Disappointed by the failures of her own prince, Utena has decided that she wants to become a prince herself, and so duels for Anthy not because she wants the revolutionary power, but because she is angry about the way the other duellists treat Anthy when they are engaged to her. Like Utena, Anthy also has her (dead) prince – her abusive brother Akio, the chairman of Ohtori Academy and the mastermind of the Ohtori world. Anthy is drawn to Utena because of her nobility and sincerity, and Utena eventually returns this feeling. Their bond is cemented by their mutual guilt over the deaths of their princes, and together they escape both Ohtori and their princes in a climactic scene where Utena turns into a car that Anthy drives through many obstacles to eventually reach the outside world. In doing so, together they revolutionise the world of Ohtori through this act of escape.

3. This revolution involves the complete collapse of the Ohtori Academy and the castle suspended above it. This castle is significant because it promises eternity and miracles to Utena as the possessor of the Rose Bride, at the price of both their freedoms, and its destruction means simultaneously the gaining of freedom but the loss of eternal life. Although the series also involves these kinds of excessive cataclysms of disaster and emotion, the Utena movie is a site of excess even beyond the series. The film is highly intertextual – at its most basic level, this is evidenced in the way that the narrative is very difficult to understand without prior knowledge of the storylines and characterisations of the series [my comment – or without knowledge of masonic symbolism and ancient culture/history]. This means that comparisons between the two are inevitable, and thus the movie is always more than the series more obscure, more symbolic, more artistically impressive. Similarly, in the characterisations of the main characters Utena is more masculine, Anthy is sexier, and Touga and Akio more princely. This excess extends to the settings and technical codes of the movie. For example, there are masses of roses as far as the eye can see where in the series there is a simple glasshouse within which the roses are contained, and all the characters have masses more hair (except Utena who, in keeping with her more sober, masculine characterisation has her hair cropped). The architecture of Ohtori academy is angular, distorted and often shown in long shots which emphasise space and distance – indeed there are huge echoing spaces everywhere, inside the buildings and out. This excess is particularly clear in the depiction of sexuality, most notably in the ending, where the same-sex love of Utena and Anthy is graphically illustrated, unlike the series where the same-sex eroticism is limited to a subtext fed by a visual vocabulary of looks and poses. Revolution is in itself a kind of excess or uprising, and thus these excesses of characterisation, mise-en-scene and sexuality in the movie are key in producing Utena as a revolutionary girl.

4. However, revolution is figured in Utena in more subtle ways than through setting and narrative. Both the series and the movie are known for their extensive use of symbols and myths from a variety of sources. One of the major sources from which these are drawn is the work of famous manga artist Riyoko Ikeda, in particular her path breaking work The Rose of Versailles, and indeed Chiho Saito and Kunihiko Ikuhara, the creative team that authored, drew and directed both the movie and the series, cite Ikeda as a major influence on their work.[1]

The Rose of Versailles is a re-telling of the French Revolution through a fictional character called Oscar, who was born a girl but raised as a boy by her father (who was frustrated by his lack of sons). Oscar goes on to become the commander of the Royal Guard, and protects Marie Antoinette and the French court. Ikeda’s influence can be seen across many aspects of Utena, most immediately obviously in the use of roses as the primary symbolic sign, and the figure of revolution as the narrative engine of both series. Furthermore, all of the Utena series, manga and movie are subtitled in French (La Fillette Revolutionnaire). Revolution as it is invoked in Utena is thus inflected through this association with an allegorical link to a romanticised version of European history, specifically the French Revolution (which in Utena’s subtitling becomes a French revolution). Furthermore, Saito’s characters, like Ikeda’s, have angular, lean bodies, long flowing brightly coloured hair, wear close-fitting, romanticised, old-fashioned military uniforms complete with tassels on their shoulders, and regularly take part in spectacular sword fights. Their genders are similarly romanticised and fluid, and the main character in both The Rose of Versailles and Utena is a girl who wears boy’s clothes, uses the masculine self-referential pronoun boku and has a distinctly boyish way of speaking (especially in comparison to the hyper-femininity of characters such as Marie Antoinette and Anthy). Indeed, these characteristics of the two works are located within the broader tradition of shoujo manga (girls’ comics), which abounds in floral imagery, ambiguously gendered characters, and romanticised references to vaguely historical European culture.

5. The genre of shoujo manga is generally acknowledged to have been started by the ‘god’ of Japanese manga, Osamu Tezuka (best known in Australia for his Astro Boy series), and early shoujo manga was indeed mostly drawn by men. However in the 1970s a group of women known as the 49ers (because they were born in and around 1949 [my comment – notice how the re-introduction of the Divine Feminine started ‘finding’ its way into popular culture after WWII, before that it was purely secret society secret knowledge even amongst themselves]) came to prominence, and the genre of shoujo manga has been dominated by women authors and artists ever since.[2] Ikeda was one of these 49ers, and is probably the most well-known of these outside of Japan thanks to Frederik Schodt’s translation of a few pages of The Rose of Versailles in his book Manga! Manga! The World of Japanese Comics.[3] Shoujo manga is known for its fascination with human relationships, and notorious for its treatment of gender and sexuality through the sub-genre of bishounen manga (comics about beautiful boys, often with romantic, homosexual storylines). Ikeda’s work, and by extension Utena, is a twist on the beautiful boy story, in that the beautiful boy (Oscar, Utena) is actually a girl, yet stylistically and thematically both works are clearly influenced by this sub-genre. In drawing on Ikeda’s work, Utena harks back to a period in the history of manga when women artists were revolutionising the genre, carving out a space for themes not treated in mainstream boys’ and adult manga.

6. This relatively new genre of manga has received much attention in the academy. Many authors have been concerned with trying to understand why Japanese girls favour stories about subjects completely removed from their own experience – stories of love between boys, manga set in the West, and fantasy and magical storylines are those most often analysed.[4] According to these scholars, Japanese girls are so subordinated and repressed in Japanese society that they turn to shoujo manga for an escape from the limited versions of sexuality, gender and desire that are proscribed for them. The director of Utena, Kunihiko Ikuhara, echoes this when he states that the reason that the female characters turn to each other, rejecting their failed princes, reflects Japanese girls’ dissatisfaction with their position in contemporary society – ‘women no longer wish to be subordinate. Women are asserting their position in society.'[5] Utena is thus self-consciously produced from within a discourse that is concerned with women’s desires and resistances to their social positionings, and Utena’s revolution is as much about the feminist uprisings of the 1970s as it is about the French Revolution.[6] In this sense, Utena and Anthy’s escape from Ohtori is also an escape from dependence on men, and by association, on the society that privileges men. Their escape is not a simple running away, however. By refusing the world of Ohtori where they can only ‘be alive while dead’ (like their princes, Akio and Touga), they revolutionise that world – without them to prop up the fantasy of eternity and miracles that Ohtori promises, it collapses behind them (almost destroying them in the process).

7. The outside world to which Anthy and Utena escape is a utopic world where ‘there are no paths, where we can make our own paths.’ In this line the ambivalence of Utena’s revolution becomes clear, for even though it suggests that the potential to revolutionise the world lies in a rejection of dominant discourses of gender and sexuality, it does not champion the taking up of other discourses, for example that of lesbianism, despite the fact that it seems to be so clearly figured in the barely subtextual grammar of looks and shots that suggest a same-sex desire between Utena and Anthy.[7] Utena is perhaps the most popular ‘lesbian’ themed anime amongst fans of shoujo-ai and yuri (literally ‘girls’ love’ and ‘lily’, both terms used by fans to denote anime and manga that either contain female same-sex references or in which they can be read subtextually).[8] However, the application of the word ‘lesbian’ by fans, and as a descriptor of Utena reflects a specifically Western desire to interpellate the text into pre-existing notions of lesbianism and same-sex desire. Utena does not invest in discourses of lesbianism or same-sex desire – in fact it paradoxically simultaneously invokes and disavows them. Rather, Utena invests in the romantic notion of revolution as being capable of fundamentally changing the world by erasing categories of gender and sexuality, even as it invests in these very categories.

8. Utena is a brilliant fantasy, richly textured through its invocation of the symbol of revolution. It pays homage to both the history of manga, and the desires of Japanese women, and its complex, highly allegorical narrative and imagery allow for a wide range of identifications and viewing positions. While Utena’s revolution of her world with all its gender and sexuality-bound restrictions may not be available to us in the ‘real world’, this utopic fantasy is pleasure enough in itself.

Endnotes
[1] Mona, ‘Re: Utena and Ikeda Riyoko,’ in Yuri: The Yuri Mailing List, 27 February 2001, (27 February 2001).
[2] An informative site that covers the history of shoujo manga as well as information on the genre in general and some anthropological analyses, see Matt Thorn, Matt Thorn’s Shoujo Manga Home Page, 9 March 2001, (21 March 2001).
[3] Frederik Schodt, Manga! Manga!: The World of Japanese Comics (Tokyo: Kodansha International, 1983).
[4] See, for example, Tomoko Aoyama, ‘Male Homosexuality as Treated by Japanese Women Writers,’ in The Japanese Trajectory: Modernization and Beyond, ed. Gavin McCormack and Yoshio Sugimoto, Cambridge: Cambridge University Press, 1988, pp. 186-204; Midori Matsui, ‘Little Girls Were Little Boys: Displaced Femininity in the Representation of Homosexuality in Japanese Girls’ Comics,’ in Feminism and the Politics of Difference, ed. Sneja Gunew and Anna Yeatman, Boulder: Westview Press, 1993, pp. 177-96; Matt Thorn, ‘What Japanese Girls Do with Manga’, in Matt Thorn’s Shoujo Manga Home Page, 23 September 1997 (9 May 2000); Maia Tsurumi, ‘Gender and Girls Comics in Japan,’ in Bulletin of Concerned Asian Scholars 29, 2 (1997):46-55; Sandra Buckley, ‘”Penguin in Bondage”: A Graphic Tale of Japanese Comic Books,’ in Technoculture, ed. Andrew Ross and Constance Penley, Minneapolis: University of Minnesota Press, 1991; andYukari Fujimoto, ‘A Life-Size Mirror: Women’s Self-Representation in Girls’ Comics,’ in Review of Japanese Culture and Society 4, (December 1991):53-57.
[5] Cited in Shoujo Kakumei Utena Home Page, 5 September 2000, (22 March 2001).
[6] For more on feminist movements in Japan see Vera C. Mackie and Japanese Studies Centre (Melbourne Vic.), Feminism and the State in Modern Japan, Papers of the Japanese Studies Centre 22, Melbourne: Japanese Studies Centre, 1995; and Sandra Buckley, Broken Silence: Voices of Japanese Feminism, Berkeley: University of California Press, 1997.
[7] Indeed in the film the subtext becomes canon in the final scene, where ‘Utena and Anshi [do] the naked street luge while sucking face’ to quote one fan – that is, they exit the world of Ohtori Academy and the duelling arena on the remains of the car that was Utena, stark naked, kissing.
[8] It is worth noting that the other series that Ikuhara is famous for, Sailor Moon, also has a canonical female same-sex couple that is hugely popular among yuri fans.

Seal – Kiss From A Rose

Superchick – One Girl Revolution

Gallery

Fatal Attraction – Not something to aspire to but can be worth striving for

Gustav Klimt - The Kiss

Gustav Klimt – The Kiss

Klimt - The Embrace

Klimt – The Embrace – the Gold version of ‘Fulfillment’

Note – this is a post only for people of a discerning, mature nature (that excludes ‘sophisticates’ who are just children playing dress up, thinking themselves special and ‘privileged’ for being part of a ‘secret’/club and then enacting their warped fantasies on everyone everywhere they can).

I keep telling people not to fall in love with gods unless they are gods, you see the human/vampire love for example in the media and unless you’re truly exceptional a mixed species relationship is not for you (and being exceptional or ‘extreme’ is not all it’s made out to be, neither is ‘normal’ but still).

We are incredibly attractive, not least to each other. Our love can last more than a lifetime for one being and we can find each other. True love for us is not the same as love for humans who’d see it (and for whom it would be) obsession, infatuation, an overwhelming need. Pain, love, need, desire, fixation, devotion – it’s all there and yes it seems/sounds just so sexy. Though for some of us sensual (different to sexual and doesn’t have to be sexual, doesn’t even have to be erotic, just powerful) is a better word. We can just look at each other and smoulder.

But its not for people, they can’t handle it, the body and even the mind is not suited for so much feeling. It’s taboo for numerous reasons and there are those who like to take advantage of/sabotage such relationships.

Now we all know the entertainment media is the ‘illuminati’ playground and despite my use of visual and music media as explanation aides I don’t actually keep up to date with celebrity so while for illustration I’ve heard the hysteria over ‘Katy Perry music videos’ (and various awards shows) I hadn’t actually paid any attention to them. Why should I? It’s all about us and I know that already, it’d be the equivalent of listening to your own records all the time and seriously, I’ve never needed or wanted an entourage/trumpeters to blow my own horn – I can do that myself 😉 . I included one of her songs ‘Roar’ or my ‘The Legend of Korra’ – the Girl who merges the Unseen with the Seen post without realizing it was her song, and then saw a picture of her ‘Dark Horse’ video and colour me intrigued…

I was never particularly interested or impressed by her music nor videos early on except her debut hit which obviously shattered a lot of social perceptions. (I remember a church sign proclaiming ‘I KISSED A GIRL AND I WENT TO HELL’.) But as somewhat associated with horse ‘mythology’ I just had to watch it and… Well, spot on. Her videos are very theatrical in a pantomime way but she has become very much the ‘illuminati puppet’ in terms of a vehicle for symbolism. I think it’s a great video but it’s a bit like setting an age range on a film; you can appreciate and laugh at messages like this when you know what they’re about, who they’re about, even know the individuals, were the characters etc. For many people spotting/learning about this kind of thing there’s automatic fear, rejection, disgust (rightfully so for many parts of it and its true her videos also make great parodies and parody material) but there’s a difference between reacting and responsibility; it’s like when I write online and then sites put up articles, pictures, quotes etc ‘accord’-ingly in ‘reply’/commentary/for/against (as if I’m even talking to them or anyone in particular).

There’s a lot to dislike and be worried about in terms of practices in Dark Horse, but for me and others at least, there’s a lot to smile at, if you think it inherently evil you really need to sit in front of a mirror for a long time. There’s parts in it that are controversial based on preference alone as well such as the pole dancing but after seeing some of her videos I actually think the composition works (not that I condone those professions, lifestyles etc I’m talking about a tiny minority where it’s sometimes ok between a couple for example) and I appreciate that she can do the gymnastics I can/could (it feels good to be fit and flexible). I don’t appreciate the pushing of this stuff on the mass mindset though, the making of celebrities to think/believe/act like they are these beings and all the debauched things many of them participate in for ritual, the glamorization (though it is glamorous/lush/scintillating/appealing what have you) and normalization of what really is the height of excess/exaggeration in its portrayal. Making the exotic common, and debased. Not everybody acts like that/partakes in what is shown, many do but I’m not talking about them *dismissive hand* they can go jump. And it’s not like an addiction for everybody, it’s not looking at others as a some kind of delicacy and being hungry all the time (and certainly not like a ‘piece of meat’). There’s a ton of psychopaths and sickos in this world, some of us come up against more than anybody’s ‘share’ of them and when you deal with them frequently you have to put in the effort to separate yourself and keep yourself calm, centered, whole. If you want to call a whole group depraved and contaminated it’s just as easy to say the same about humans, but I don’t, I’m more humane than most people. Even if it’s just the tiny minorities in these various species (humans included) that are trying their best not to succumb to degrading ways whilst expressing their thoughts and feelings.

Dark Horse – Been there, done/am that, the ‘siren’ vibe that is, not the monotomic consumption, gimme gimme gimme attitude, rich/poor class system and so much more – but when I’m in love (and its only ever one at a [long] time, if not really just one throughout) if he wants to adore me he most certainly can.

Is it wrong to feel insatiable over the one you love? If you’re desiring things that are damaging, hurtful, things they don’t want, are fundamentally repulsive, against their nature etc then yes it is. But having a love so powerful it doesn’t die and is easily fanned again no matter what the circumstance is really quite rare – when not psychopathic – there’s plenty of instances where people spend most of their life relatively ‘happy’ in one relationship. However when it’s fairytale-esque in actuality rather than imagery it can be daunting, the usual ‘I will do and go through anything for you’ scenario in many fairytales is what draws/enchants/entertains people, but that’s life for some of us. We feel like that/that depth of passion consistently and don’t deny that many, many people are stirred by the idea of someone being so dedicated to them, so protective, so admiring, so wanting. The problem is limits, personal boundaries, ethical choices and ignoring/not caring about them… Some people take passion and act like it’s an excuse for treating someone they supposedly love in ways they shouldn’t even think about treating an enemy.

E.T – the colours are perfect in this and of course they’ve taken a lot of care with the props/costuming, whilst still theatrical it’s ‘smoother’ than Dark Horse and in practice the whole ET (or any) abduction (as opposed to rescue) scenario is a no-no. Notice how he has to change bodily to become more compatible with her too but the intensity of the feeling, that reaching for each other is something many of us can relate to without being invasive (and which could be said without making greys/alien/any kind of abduction look like something people/beings actually want except those doing the abducting.)

I do like that ‘she’ (not sure how much ‘creative control’ she really has, how much she knows, is influenced etc) has a sense of humour. You can’t be/remember a long existence without being able to see the funny things, or act a little silly (note that doesn’t mean recklessly stupid and foolish) ok you can and those people are just *roll eyes* too serious for me (and that says something, I’m a grouch but I’m morelike Oscar the Grouch, he’s kind and witty really) – this is one of her funnier videos. That supernatural tiger (or any animal) imagery btw is significant, some people will know that, unfortunately much from a ‘spirit guide’ or projection point of view or sadly a having it done unto them situation.

Unconditionally – I’ve said plenty of times my love isn’t unconditional (nor available actually – facets/mirrors even from an ancient Egyptian scenario) but who wouldn’t want their beau to take them to a ball, lift and twirl them or be the one doing the chivalry, benevolent charm? I’ve not seen many complaints against the idea of a lover (and not an abductor/traitor/enemy) flying away with you in their arms. The problem again is people take things too far and indeed on a regular basis; it becomes a decadent, indulgent immorality for many. People can’t control their passions and it becomes dangerous in a bad way, predatory, and they build up systems to feed it.

Love me – I like this one, go girl (although I’d use the throne to batter them instead of kicking it over).

I’ve embraced my ‘dark’ side. I’m a richly deep, magnetic, provocative yet also sweet, lighthearted, funny person. I’m complete, replete. I’m your poison and your cure. Did you want me to be a tool; or a crawling, crumbling, crippled creature? Do this scare you? It should, because I’m in no way evil or intoxicated, neither am I submissive or tolerant of those of you who are.

Poe – Control Lyrics
http://www.lyricsfreak.com/p/poe/control_20109683.html

Don’t you mess with a little girl’s dream
‘Cause she’s liable to grow up mean

Surprised you to find that I’m laughing?
You thought that you’d find me in tears
You thought I’d be crawling the walls
Like a tiny mosquito and trembling in fear

Well you may be king for the moment
But I am a queen understand
And I’ve got your pawns and your bishops
And castles
All inside the palm of my hand

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

This is beginning to feel good
Watching you squirm in your shoes
A small bead of sweat on your brow
And a growl in your belly your scared to let through

You thought you could keep me from loving
You thought you could feed on my soul
But while you were busy destroying my life
What was half in me has become whole

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

So this is how it feels
To breath in the summer air
The feel the sand between my toes
And love inside my ear
All those things that you taught me to fear
I’ve got them in my garden now
And your not welcome here

Come a little bit closer
Let me look at you
I gave you the benefit
Of the doubt it’s true
But keep in mind my darling
Not every saint is a fool

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

Don’t you mess with me.

[Poe’s Father film director Tad Danielewski:]
There has to be more to life than this, because in our confrontation with a cold cold universe, there is something comical to the idea that we can really impose our will on humanity– power corrupts!

[Poe as a child – her name is Anne :]
This is scaring me.

Second dialogue:

[Anne :]
…I live at the end of a 5 and 1/2 minute hallway

[Father:]
And at the end of it all lies of course the final phenomenon of deterioration entropy, which is a predictable disintegrations which the creative life ceases: everything has to fall apart.

[Child:]
Why are you always so serious?!

 

Note: I don’t like the films ‘Fatal Attraction’ and ‘Basic Instinct’ nor the use of the iconic scene for Rihanna’s post-domestic-violence interview nor the use of it in the latest Wonder Woman film.

Gallery

Grab your guns in the Virtual/Dreamland, we’re in for the ‘Wilde Ride’ Valkyrie – chooser of the slain, serving our inner Eye, flying warrior – style. Hunt those who hunt the Goddess.

El Cazador De La Bruja True Meaning Nadie Ellis

El Cazador De La Bruja (The Hunter of the Witch) is the third in studio Bee Train (not hive) ‘Girls with Guns‘ series (from the ‘Champion Red‘ Manga released as anime originally in 2007), now I’m not normally a fan of firearms and ‘my’ characters rarely use them, openly stating they don’t like them or just don’t use them (doesn’t take anywhere near the amount of skill as traditional weapons) but I can make an exception, especially for this anime.

This is an exceptional anime in that it weaves in the ‘Lost’/Fallen Goddess story really well and in a slightly different setting to most anime but the components are all there.

ELLIS – (the El- Mother figure character names in media tend to be like Elle, Ellie, Ely, this one is Ell-is as in She Exists, She Is) – the ‘Goddess’, or ‘Witch’, test tube baby in this version so apparently not a child of ‘god’ (though She has the God-soul/spirit) or natural (as if humans are). Part of a group of embryos made to test the ‘Maxwell’s Demon’ theory (yep because people just love to think up and test everything on everything without giving a sh*t). The theory is basically about having the ability to harness and transform the elements, so for example the first one Ellis has is thermodynamic – she sets things on fire or melts them when she gets stressed, but she can already jump/leap (levels) with shocking dexterity and is quick with her hands & numbers. She’s also ‘simple’ in that she’s straightforward, no hidden motives or cruelty, totally ‘sweet’ and ‘innocent’. She’s ‘given’ to a ‘doctor’ to experiment on her but she finally manages to get him to stop and develop a care for her, she’s not a thing and he shouldn’t treat her that way – Stockholm Syndrome though since she doesn’t know/has no one else. He is assassinated (serves him right) but she gets blamed for it (set-up) and a bounty put on her dead or alive.

L.A – (yeah just look at that and what that stands for) but I’ll spell it as El-A for now – (you get the masculanized versions of Goddesses in culture who commonly put an ‘A’ or ‘U’ at the end of the same name) He and Ellis were the only successful creations, because breeding/lab making ‘super-people’ yields more fails and normals than successes. Being male he doesn’t have the magic/transformational/creative energy Ellis does but he is super strong, fast and agile. He is also completely in love (morelike obsession) with Ellis (who is offput by him) – he was groomed to love (or morelike lust) Ellis and repeatedly berated for it at the same time, expected to watch but not interact with her and that pressure makes him lose control at times. He’s tortured by Rosenberg and conflicted (whereas Ellis is tortured yet still has strong identity, El-A’s is purely based off his ‘attachment’ to Ellis), told his feelings aren’t real, they were orchestrated, given to him and can be turned off just the same but he manages to hold onto them and believes in them completely. The problem is he alternates between hiding and coming on so strong that he worries and threatens Ellis.

……………Here comes the bodyguard, the Slayer, the ‘Bounty Hunter’ here, the Warrioress who teaches the ‘lost’ Goddess to value Herself, to stand up for Herself whilst protecting and loving/supporting Her. Remember great teachers are also fighters. You have to make a stand for those you love, and they have to be worth loving.

NADIE – (means ‘Hope’, so similar to Eve and -Dor/Dol[ly] names) – She’s been sent by ‘descendant clans’ of the older witches, the secret women, the ancient ones, the original feminine, the original ‘creators’/Gods. She’s quick witted, smart mouthed and savvy; everything Ellis needs. She’s not there for Ellis’ ‘bounty’ – she’s a tracker, she’s there to find Ellis and look after her until the time is right. She’s a twin-tailed/haired (with additional warrior braid and appropriate jewellery – this ‘girl’ is top of Her Class) Redhead (Ellis is Blonde – some will realize that duo-character combination and why its so prevalent and why Ellis’ hair has been chopped/short as she was powerless) and she wears a Red tipped White poncho that covers everything so makes her look cloaked in White (but warrior style underneath) – others will understand that whereas Ellis wears mainly Blue and Gold/Yellow because in this story Nadie is the cosmic sun/star avenger saving the Earth based Mother Goddess. All throughout Nadie is described as physically unattractive and becomes sensitive to it despite being lovely to look at to anyone with a brain. Also whilst Ellis is ‘lost’ and was hidden away, Nadie is not, she’s tracked from the start i.e. she’s a tracker whose ‘base’/the representatives of the Mothers/Mother Race had logged all along and she checked back with them regularly. Like all other cosmic incarnations/representatives who travel she wasn’t allowed/able to know/remember the whole story but she clocked on quickly and knew enough to know how important Ellis is and how she should be defended not used/abused (just like no one else should be).

El Cazador De La Bruja True Meaning Nadie Ellis
El Cazador De La Bruja True Meaning Nadie Ellis

BLUE EYES (self-explanatory) – the descendent of the witches, most ‘descendants’ are normal and whilst she has a little latent ability like many ‘natural’ ‘descendants’ *rolls eyes* she’s jealous of Ellis, wants and resents her power. She’s the one who contracts Nadie on behalf of other useless ‘descendent’ witches. All throughout she describes Ellis and El-A as things, both from a clinical/scientific ‘subject’ point of view but also as inferior to humans because ironically they’re human-made, now that’s a backhanded compliment. ‘Artificial’ in comparison to human e.g. test tube, transgenic, AI etc are barely given any ‘rights’, barely thought of as people, like people, barely credited with feelings, intelligence, even the ones with human organs (including skin which yes I know is an organ but still worth stating) – they’re just ‘computers’ that ‘run programs’… Yeah until they use their ‘brains’ better than you use your awesome gifted ones. The lack of respect for other lifeforms allows people and ‘others’ to treat each other like property. Eventually she comes around, but takes her damned ‘blue eyed’/glasses wearing [implying disguise – very simple Superman style] blind time whilst undercover.

……………Speaking of completely self-involved blinded characters cue the Manipulator:

ROSE-N-BERG (Rosen-Berg, the wannabe Rose/Risen/Ascend) – Nazi German style working for the CIA/Americans (yeah we’ve seen that before), with his personally favoured rose-tinted perspective accompanied by a pair of specs and who hypocritically tells Blue Eyes she shouldn’t wear glasses. He hurts everybody for his goals, it doesn’t have to be personal, it’s all about his destination. The ‘best’ results no matter the price, all business (with personal benefit in mind), schmoozes people who can help his career, thinks he owns everybody else like pawns, typical psychopath but a successful one since he’s in power. Basically he goes to any and every length to activate Ellis’ powers i.e. the usual Masonic way involving as much pain, trauma and loss as possible – developing bonds/connections with specially placed people in her life only to take them away and push her to the brink… All so he can be a hanger-on and pretend that he ‘loves’ her, pedophile style. (Interesting to note: the Blonde Slayer and Red Witch in ‘Buffy’, Willow is also a Rosenberg – remember characters change sides and/or undercover in any battle/war but in ‘Buffy’ they also have ‘Doppelgangland’.)

……………The other bodyguard and a very young girl who travels with him, whom he won’t explain and isn’t his daughter – i.e. the man who protects the female bodyguard and in this story the third female for the ‘triplicate’. All three females are young (Ellis and El-A were subjected to accelerated growth though their torture would also age them mentally if designed to teach them obedience, fight/flight, escape/evade which it was rather than degenerate them into permanent infant mindsets).

RICARDO – ‘Powerful leader’ (yet great enough to look after/love, take a backseat to that which is even greater than himself like the Daughter does the Mother) – He is older than the rest, which isn’t necessary but older males are often the ones who change their minds after its too late/a life of suffering/causing suffering and decide they want to help. Younger ones are too gung-ho and aren’t as protective unless in love/bonded. His age allows for the characteristic of being more cautious, hidden than devil-may-care/free-spirited-but-very-able Nadie. Whilst Nadie is watching Ellis, he is watching El-A but the relationships are very different, Nadie is big sisterly/motherly and wears her heart on her sleeve, Ricardo is distant and not as communicative but quietly sincere, he cares deeply for Nadie and Ellis despite being hired by Rosenberg.

……………So many political divisions and factions, as usual. Ellis’ and Nadie’s freedom becomes a unifying factor.

LIRIO – (‘Iris/Lily’ so ‘Eye’, and interestingly there is a character actually called Iris in this anime who helps them too whilst searching for something else). Lirio is very quiet but instantly likes Ellis and Nadie, and she’s the one who sees the Old Mothers/Ancient Witches.

……………The Dark Mother characters don’t figure much in this story – too damned scary probably – and if they were around none of this sh*t would have happened or gone this far, so no story, boohoo for all those who love ‘entertainment’ that doesn’t involve or obviously inflict them/those they care about/love. You do see Her guidance in various characters in the early episodes and then finally in the end, nice symbolic overlap – but they’re taken out, forced to resign (one by a ‘fake’ Daughter ‘Maria’ figure) and others devoted to the false/later/masculanized Mother/Daughter (Mary/Jesus). So ‘taken care of’ story/historically wise and makes way for the abuse of the Mother and Daughter. (Like in the anime ‘Read or Die’ mentioned in the last post the ‘dark one’ Maggie is the most physically strong and quiet/hidden, she’s taken out first in the coup/betrayal so she isn’t a threat/can’t protect the others, the Mother figure is more the boss of the three yet traditional, and the Daughter/youngest is the most feisty/rebellious. The Dark Mother fights the strongest characters and even stays behind to let the Mother/Daughter move ahead, as is always the responsibility of the stronger.) I’ve seen ‘Dark Mother’ figures in other Mother/Daughter stories treated in a similar manner – lip service, taken out in some way, removed before the story starts even, heck even bashed into by a ‘lotus’ car in an ‘irrelevant’ scene in one film where she’s shown as a random stranger who then leaves the story as quickly as necessarily/’unnecessarily’ inserted (so that the supposed male triad can ‘protect’ the Mother/Daughter instead).

The ‘rose’, Inca Rose, Red stone plays a power source role in this story and is in a cave/mountain – as it ‘should’ symbolically do/be, since it signifies the Mother and the Mother (whilst being all colours) is known as Red, the innocent/joyful creator, Lalita from whom all the El ‘god’/superbeing names came from. And as usual the Warrioress always sacrifices for the power source, for the Mother, but she always comes back 😉 just like ‘Buffy the Vampire [all demons] Slayer’ and Max the ‘transgenic’ from ‘Dark Angel’, the only one whose Mother fought for her and didn’t want to give her up to the Manticore/type of lion/the dreammaker-realizer/actualizer Sandeman ‘Family’. There’s no destroying the Mother/Daughter/Dark Mother bond, why do you want to? I’m not going to go further into the ‘rose’ here, that takes more time but it’s worth mentioning that whilst they come in many colours, the Red (or White) rose are most commonly used in symbolism.

Throughout their journey, and it is very much a physical journey, Ellis and Nadie are followed by Hunters. Even though Nadie is traditionally a seeker/destroyer-if-necessary character herself, she’s still a Target. Ellis and Nadie are real/alive, flesh and blood, not portrayed as obvious ‘Gods’ let alone ancient Goddesses, they have feelings like everybody else, as does El-A though his are warped, stalker-ish/desperate/predatorial/out of control which adds to his physical strengths.

Interestingly enough the other bounty hunters who target them the most are cross-dressers, men as women lol the massive symbolism. Another apt similie is in one episode where Nadie and Ellis try to catch/hunt a bird whilst they’re also being hunted (ironically by Blue Eyes in sniper mode before her eyes are opened and she has a change of heart) – the same example is used in an episode of ‘Dark Angel’ where Max kills and eats a chicken but is reminded of the farm system she lives in.

Ellis and Nadie are both wildcards, it’s because of them that Mountain comes down and interestingly/poignantly Nadie won’t let Ellis touch the gun. The gun is a weapon, a tool of pain, injury, suffering, impurity – it’s an efficient killing machine that makes destruction without conscience easy for anybody. It’s not a toy yet known as a ‘boy’s toy’, it’s a tool for [traditionally] tools unlike traditional weapons that were used for agriculture and other things that didn’t involve maiming for fun and games. Such a thing is not a thing the Mother should have to desecrate Herself with, she is pure, the Creator. It’s upto the Daughter – the partially contaminated, the less attractive, the less stellar, the lesser divine light, the connection between Creator and Creation, between worlds, levels, the communicator, preserver to sully her hands because she understands/can hear/see/feel how the fallen behave. Her very existence is a compromise and so she takes the edge/pain/burden off all sides. A kind of ‘naturally’/’destined to be’ tortured/unhealing wound ‘damaged’ soul. Neither here nor there, doesn’t really belong yet can be anywhere, sweet/innocent/pure and yet not… Thankfully she’s not fragile lol.

And hey did I mention she can wield a gun like a pro because in this story she is a pro and I guess we have to modernize sometime 🙂 Even Buffy handles a rocket launcher with amazing awesomeness at Angel, ‘The Judge’ (who funnily enough is on the ‘demon’, not human side despite supposing to be what he is, no wonder Buffy kills him) and Drusilla/the ‘treacherous’ old-lineage feminine (she’s a psychic gypsy and through no fault of her own – it’s Angel-is’ fault – a betrayal of the original feminine that is sometimes shown as voluntary, sometimes forced/involuntary). One of Max’s forms/clones handles two guns at the same time and Sydney Fox (Relic Hunter, another Brown-skinned but this time Asian linked rebellious, learned & armed Daughter figure who seeks out the hidden) has a mean aim like Lara Croft. It’s about time the Daughter and Her supporters got up-to-date methinks, get the party started so to speak. We’re a bit too outdated with our drums, bonfires and dancing – gotta mix it up a bit. And hell everybody else is into ‘toys’; fast/sleek cars & weapons? Why shouldn’t we have some fun? We’d be better at it. Just think of all those weapons these humans keep coming up with to hurt, control and kill each other and everything else whilst calling it ‘peace’, ‘defense’, ‘counter-terrorism’ etc – they’ve been at the gun powder and moved on ages ago whereas we use ‘gun powder’ for spice lol! Imagine the hottest, sexiest, sleekest guns out there – bring them into ‘being’ in the virtual reality, point and shoot. It’s ‘fiction’, not ‘real’, ‘other reality’, ‘dream’, the ‘VIP social club’, ‘virtual’, ‘video’ ‘terminal’, ‘game’ afterall, it has no effects/affects apparently, hurts no one, no harm no foul we’re told yet so many eat it up and want to be a part of the story, and usually as Hunters not Targets. It’s time the worm turned, this anime is just so cool and Nadie knows the meaning of family beyond blood, of connections beyond titles and status, she loves Ellis because Ellis is worth loving. I’ll reiterate that guns aren’t actually cool, aren’t toys, aren’t fun, aren’t something I support but in ‘storyland’, ‘fake’ places, dreamland, Imagi-Nation apparently anything goes and Hunters get away with everything. No wonder role player games are so popular and virtual reality headsets have made a comeback (yes comeback). Bee Train certainly did a polished job on their ‘Girls with Guns’ series trying to ‘balance the playing field’ sex wise. I prefer regular beat’em’up animes and games, nothing quite as satisfying as good ol’ hand-to-hand combat, but I guess I should give shoot-em-ups a go finally. And it does remind me of Vash the Stampede from the anime ‘Tri-Gun’, Blonde kitted out in his long Red coat, Black under clothing, Black & White/Silver guns, a plant-based ‘alien’ but human looking lifeform, a traveller/wanderer who is the ultimate pacifist yet best gunslinger. I’ve always liked Vash; poor guy, blamed for destruction and wannabes follow him around everywhere even though he’s trying to protect everybody, even his enemies, and you should see his body, there’s barely any skin for scars. A humungous bounty on his head. Some interesting characters in that anime too and the desert setting is comparable to this anime, though the planet is post-devastation.

All the ‘joking/fooling’ aside this is a very emotional anime that questions people’s motives, their relationships, mindsets and feelings – how do you manage in a setting where everything is orchestrated? How do you love and protect each other whilst not hurting yourself/getting hurt, how can you trust each other, yourself? Who is pulling your strings, affecting your emotions? Boxing you in, forcing you to feel like you have to escape? Who wants your power, to make you feel powerless? To feel unloved, unvalued, your ‘value’ placed as property and/or in monetary terms? As if no one is looking out for you and you’re all alone in the world that is full of others? These characters try to be lighthearted, to make the best of things but what they go through is deadly serious, even if it’s fictional entertainment. Artists tell the truth through lies. Others tell lies as the truth. And some of us alter those fear-based, parasitic realities; we wade through the sh*t and take the beatings to find you and pull you out and/or help you help yourselves, kicking and screaming maybe (either/both you and us) but we do it just as the immortal Warrioress sacrifices Herself for the Mother Goddess and indeed Creation, but still lives 😉 . I think it’s about time She thrived rather than struggled to survive as indeed the anime makers uniquely did on this one. Usually the Daughter stays with Creation, even the false ‘kin’/Fathers/false family etc and the Mother Goddess leaves or the Mother/Daughter / Mother and/or Daughter sacrifice Themselves for Creation to have yet another same old, same old chance but in this anime everyone touched by their genuine earnestness is better off, and Mother/Daughter figures stay together and leave together, as They should.

Greatest Battle Music of All Times – Siren’s Call [Epic Score]

Rachel Platten – Stand By You (from ‘Wildfire’ album)

Rachel Platten – Fight Song (from ‘Wildfire’ album)

—————————————————————————————————

And for my own personal ‘Superman’ (from the ‘Wildfire’ album) like the above bodyguard of the bodyguard,

Nadie El Cazador De La Bruja

From the other side I am a terror/wonder to behold. A master of war and peace. Don’t worry, I’ve got you.

Gallery

Predators and their lust for control

Those who want/need/desire the Mother and Daughter and will do anything to get/keep/pollute them.

This is an excerpt from a film review I wrote in June 2014:

https://fashionthatpays.wordpress.com/2014/06/16/momo-1986-film-review-goddess-connection/

The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.

In regards to public media the desired ending is always the same, no matter how much truth is in the vehicle e.g. film, song, series, characters etc, no matter how much they’re coded/symbolic. In regards to Momo – the point was to make the Mother figure into the Daughter figure to control her. And for those of you desperate for the ‘French connection’ in my life one of the names is in there.

In the book ‘Lolita’ – Dolores ‘Lo’ ‘Lola’ ‘Dolly’ at 12-years-old (when my ‘grooming’ was ‘activated’ with induced sleep paralysis) is sexually abused and turned into Lolita ‘the perfect lover’ [corrupted form of ancient Indian Ultimate Mother Goddess Creator of All ‘Lalit[h]a’] through the grooming, trauma/confusion/predatory behaviour and then ‘goes off the rails’ (out of the arches/off the train) only to be ‘rescued’ by her abuser/orchestrator/handler/contaminator. She is poignantly his ‘landlady’s’ daughter, and for his plot to work he must become the Father and her demoted in status to his daughter. Dolores/Dolly reminds him of an older/earlier ‘love’ Anna-Bel[l].

https://en.wikipedia.org/wiki/Lolita

Plot Summary

Humbert Humbert*, a European literary scholar, describes the premature death of his childhood sweetheart, Annabel Leigh. He suggests his unconsummated love for her caused his fixation with nymphets (girls aged 9–14) and indulges in his sexual fantasies by pretending to read a book in a public park and being aroused by nymphets playing near him, as well as by visiting a prostitute who he believes is 16 or 17, and imagining her to be three years younger. After a misadventure when he requests a nymphet-aged girl from a pimp, Humbert marries an adult woman with childish mannerisms, Valeria, to allay suspicion. His marriage with Valeria dissolves, after she admits to having an affair with a Russian taxi driver. Humbert wants to kill her, but Valeria and the taxi driver leave before he gets the chance. After another visit to a psychiatric ward after a mental breakdown, he moves to the small New England town of Ramsdale to write.

Humbert fantasizes about meeting and eventually molesting the 12-year-old daughter of an impoverished family, the McCoos, from whom he agreed to rent an apartment. Upon his arrival in Ramsdale, however, he discovers that their house has burned down. A landlady named Mrs. Charlotte Haze offers to accommodate him instead, and Humbert visits her residence out of politeness. Humbert plans to decline Charlotte’s offer until he sees her 12-year-old daughter, Dolores (born 1935), known as “Lo,” “Lola,” or “Dolly”. He becomes infatuated with her, in part because of her uncanny resemblance to Annabel, and agrees to stay at Charlotte’s house only to be near her daughter, whom he privately nicknames “Lolita.”

Humbert starts a diary in which he keeps detailed descriptions of Lolita’s characteristics, along with moments that they spend together. The diary also contains hateful comments about Charlotte, along with a description of a picture in a magazine of a playwright (Clare Quilty), who Lolita has a crush on and who Humbert resembles.

Charlotte, Lolita, her friend Mary, and Humbert plan to go to Hourglass Lake for a picnic one Sunday. However, Mary’s mother phones to tell them that Mary is running a fever and that she can’t go. Mrs. Haze postpones the picnic and, as a result, Lolita refuses to go to church with her. Mrs. Haze leaves for church and Humbert and Lolita are left alone. While the two sing a song, Humbert secretly ejaculates in his pants as Lolita sits on his lap. She does not notice and leaves for the movies. After returning from a lunch in town, Charlotte tells Humbert that Lolita is going to camp Thursday and she won’t return until the next school year.

That Thursday, before getting in the car, Lolita runs back into the house and kisses Humbert goodbye. As Charlotte, who has fallen in love with Humbert, drives Lolita to summer camp, the housemaid delivers a letter to Humbert from Charlotte telling him that he must either marry her or move out to avoid embarrassment. To continue living near Lolita, Humbert agrees to marry Charlotte. After finding Humbert’s diary and learning his true feelings, Charlotte confronts him, calling him a “detestable, abominable, criminal fraud.” As Humbert goes into the kitchen to get them drinks, Charlotte runs out of the house with the letters that she had just written, but is killed by a passing car before she can mail them. A little girl gives Humbert the letters, and he later examines them: one was to Lolita telling her they were moving, another to a boarding school in which Lolita was to be enlisted, and a third to Humbert that suggested a possible reuniting between him and Charlotte in the future.

Humbert retrieves Lolita from camp, lying that Charlotte has been hospitalized, and takes Lolita to a hotel, where he plans to use a sleeping pill on Lolita and rape her while she is unconscious. As he waits for the pill to take effect, he wanders through the hotel and meets a man (Quilty) who inquires about Lolita. Humbert excuses himself from the strange conversation and returns to the hotel room. There, he finds that the sedative was too mild after seeing Lolita drifting in and out of sleep. He lies next to her all night, fantasizing about him and her together. However, it is she who initiates sex in the morning, showing him what she had learned at summer camp. On their way to the fake hospital that Charlotte was supposed to be staying at, Humbert tells Lolita that her mother is dead. Thereafter Lolita and Humbert drive around the country, moving from state to state and motel to motel. To keep Lolita from going to the police, Humbert tells her that if he is arrested, she will become a ward of the state and lose all her clothes and belongings. He also bribes her with food, money, or permission to attend fun events in return for sexual favors. After a year of touring North America, the two settle in another New England town, where Lolita is enrolled in a girls’ school. Humbert becomes very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys. The headmistress of the school see his strictness as the concern of a loving, though old-fashioned, parent. Humbert reluctantly grants Lolita permission to join the school play in exchange for more sexual favors. The play she joins is written by Mr. Clare Quilty, but Humbert doesn’t know it. Just before opening night, Lolita and Humbert have a ferocious argument, and Lolita runs away. Humbert searches frantically until he finds her bike next to the phone booth she was using. She brushes the phone call off and reconciles with him, saying she wants to go on another road trip with him, only this time she gets to choose where they go.

As Lolita and Humbert drive westward again, Humbert becomes suspicious that someone is following them, first thinking it’s a cop and then later one of Lolita’s admirers from school. Lolita falls ill and must convalesce in a hospital, while Humbert stays in a nearby motel. The hospital staff tells Humbert in the morning that her uncle checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, retracing his steps to every hotel that they’d been to thus far, but fails to track them. During his search, Humbert has a two-year relationship (ending in 1952) with a woman named Rita, whom he describes as a “kind, good sport” who “solemnly approve[s]” of his search for Lolita, while knowing none of the details.

Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert tracks down the address and finds Lolita, but her husband is not the man that kidnapped her. He promises to give her money in exchange for the name of the man who abducted her. She reveals that Clare Quilty checked her out of the hospital and tried to make her star in one of his pornographic films; but expelled her upon refusal because she only wanted to be with Quilty. She worked odd jobs before meeting and marrying her husband, Dick, who knows nothing about her past. Although she looks much older now, Humbert realizes that he still loves Lolita and repeatedly asks her to leave Dick and go with him, which she refuses. He gives her $4,000, which is much more than what she asked for, and then leaves. As he leaves, she smiles and shouts goodbye as if he was her own father. Humbert tracks down the dentist who knows where to find Quilty, and later kills Quilty in his own mansion. Shortly afterwards, he is arrested for driving on the wrong side of the road and running a red light. The narrative closes with Humbert’s final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died. The novel’s fictional foreword states that Humbert dies of coronary thrombosis after completing the manuscript, just one or two months after getting arrested. It also states that “Mrs. Richard F. Schiller” (Lolita) died giving birth to a stillborn girl on Christmas Day, 1952, at the age of 17, a month after Humbert’s death on November 16, 1952.

*Humbert – means ‘bright (light for you likers of ‘light’ vs ‘dark’) warrior’ ‘bearcub’ who becomes ‘famous/Hun’; he is ultimately the demi-urge, the deviation, the mutation, the mistake that raped his Mother and Creation/Daughter to conquer and became the singular and false Godhead. There’s nothing ‘romantic’ about that despite the ‘exquisite language’ fans of this book keep going on about and other ‘classics’ in general.

The reason why I mentioned the book ‘Pamela: Or Virtue Rewarded’ was because my Mum, Sis and I each had a book in our lives when we were younger; Mum was constantly reminded of ‘Lolita’, I had ‘Pamela’ (where Pamela, like Lolita ends up with her abuser(s) but respected/false hierarchical acknowledgement via being virtuously stubborn and resistant whereas Lolita is made as desperate and downtrodden as possible so she can’t even think) and my Sis had ‘Great Expectations’ (which she was too young to read) – I and my sis ‘chose’/were drawn to the books we had but they were telling of the situations we were in. I later decided an old dictionary suited me better (which recently some people wanted to ‘drown’/submerge/ruin) and my sis, well…

‘People’ have always ‘gifted’ me books they want me to be like or take notice of something in like an encyclopedia of ‘Alchemy’ i.e. masonic symbolism and Machiavelli’s ‘The Prince’ (another way of saying the modern masculanized version, Divine Child, of the The Princess/Daughter) but I prefer to choose my own; for example on on my many visits to Camden Market in London I only had a few minutes, so went into the indoor book market (takes up almost the whole ground level) near the Lock[e] (before the convenient fire and restructuring into a tardis type maze) and ‘said’ to the books that I wanted the one I was meant to have. I automatically went to a random area (can’t remember if they were in sections or jumble sale style mix), picked up a book, opened it at a random page and the only words in Italics (different/highlighted to the rest of the normal text) said ‘Hello Dolly’ (musical/song reference, written by someone also corrupting the Mother/Daughter story and sexualizing it). I still have that book and my dictionary, and ultimately they’re all I need unlike all the magi/witches/whatevers out there dependent on tools but that said I can makeshift if I have to ‘divine’ anything in a pinch, I’m an ‘oracle’/eye and a unicorn (the one horn/eye piercer of the veil, the ultimate self-driven living mount of the Goddess but also in Princess/Daughter form so mount and mouth) afterall and tools or ‘friends’ as I really see them [which are respected/appreciated] just help you focus; only people who have little to no ability rely on pomp, ceremony, regalia, perversion and control.

The separation and/or merging of the Mother/Daughter is very important to people and ‘people’ who want things to continue as they are, to get away with everything, like nothing happened, like its ok, downplay and hide everything.

Here’s an interesting song:

The lyrics have been changed multiple times to include ‘whisky’ (the mind confuser), ‘dollar’ (think Dorothy/Doll/Dor – hence the ‘eye’ on the separated/unattached capstone of the pyramid on the US dollar and a whole bunch of other symbolism for those who’ve followed the White rabbit – Alice in Wonderland reference – down the rabbit hole/opened pyramid/mountain i.e. secret knowledge for the initiated. Oz being the trickster/false magician, sleight of hand, illusionist, paper money over Gold, and her Silver shoes changed to Red for the Silver Screen version) and ‘pretty little boy’ (masculanization, modern version of the ‘Daughter’).

Alabama

Well, show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
Show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next whisky bar

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whiskey, oh, you know why

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

Well, show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why

Show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next little girl

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

https://en.wikipedia.org/wiki/Alabama_Song

The “Alabama Song”—also known as “Moon of Alabama”, “Moon over Alabama”, and “Whisky Bar”—is an English song written for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been notably covered by The Doors and David Bowie.*

Original version
The “Alabama Song” was written as a poem in idiosyncratic English for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925[1] and published in Brecht’s 1927 Home Devotions (German: Hauspostille), a parody of Martin Luther’s collection of sermons. It was set to music by Kurt Weill for the 1927 play Little Mahagonny (Mahagonny-Songspiel) and reused for Brecht and Weill’s 1930 opera Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), where it is sung by Jenny and her fellow prostitutes* in Act I. Although the majority of all three works is in German, the “Alabama Song” retained Hauptmann’s English lyrics throughout.

*David Bowie the ‘starman’ used this song on his ‘I-Solar II’ Tour (the II being Sol’s twin). Was also released with ‘Space Oddity’.

*Remember prostitutes don’t symbolize prostitution in freemasonry and secret/mystery schools, though they do represent the ‘fall’ of the Divine Feminine and the fall of original reproduction into what we consider normal/natural reproduction/sexuality. They were the ‘blood’ (Red), menstrual blood, women and blood priestesses. Sacred sexuality which is about the ability to create, preserve and destroy i.e. the Mother, Daughter and Dark Mother which later became the Maiden, Mother and Crone (in a ‘chronological’ and wrong order in order to encapsulate regular women/control their way of life). Sacred sexuality is innocent sensuality, but has been perverted to make out its about having sex, sex rituals, orgies, live sex shows etc, making and downgrading the pure into more and more ‘earthly’ physical, heavy, lower, disconnected to/from the mental and indeed sex abuse is used to disassociate people from their feelings of personal identity/awareness (many prostitutes and sex related workers say they ‘disassociate’ from themselves/the situation to manage), to traumatise, to confuse, distract, compartmentalize and ultimately control. On a sidenote – when you see references to ‘red geraniums’ in ‘classic’ books that implies the character was ‘whorish’/untrustworthy etc like in ‘To Kill a Mockingbird’, when I was very young people used to tell me my name meant [Red] flower without telling me what the name really meant and indeed what even the Red flower was and really meant – using surface symbolism such as in modern religion makes it look very bad but it was a prayer flower used for the Goddess Kali/Dark Mother/Root Goddess/Prehistoric and probably why some still call me Tiger Lily (and others use the Lily for the French/English competition). That isn’t what my name means as I’ve since found, ‘I am’ the Daughter not the Dark Mother but since they knew they couldn’t turn me into the Mother (though they’ve certainly obsessed about it) because they had the Mother/My Mother and there’s only one incarnation at a time (like with the Slayer, there’s only one Slayer and it’s always her reborn and she has the her own unique blood connection to the Warrior Goddess/the First/the Dark Mother – the primal, primordial, source, the dark/secret – The Mothers back ‘home’). Unlike regular lineage it doesn’t inherit through breeding, genetic modification or even wishing i.e. ritual invoking (like people do for ‘avatars’) and this is why we’re so rare/sought after. I/Eye/Iris/Lily/Lotus (not A.I as some would like to make out) the pine-apple came to find the [corrupted/hurt/tricked/imprisoned] Mother Goddess here, leaving my Mother/everyone’s Mothers back ‘home’ to do so hence becoming the [fallen] Daughter. This is why current masons call me the ‘Princess in the Pyramid’, ‘Divine Child’, ‘Prince’ instead of ‘Princess/Daughter/Goddess’ above/outside the [now false] Mountain, remember the Mother Goddess used to encapsulate the Mountain/Earth but now it’s represented as a Mountain/Pyramid/Triangle of false hierarchy. The Daughter came, she found, she battled, she called home, she waited, kept battling, kept protecting, kept falling, kept battling, kept protecting, kept falling to bring what is in the dark to the light, changing/piercing reality to merge the seen and unseen, to get them to interact/talk, come out into the open, pull whats hidden in plain sight out of hiding but also put the sacred back into the dark where it belongs – the secret – the Mother – which has been abused beyond words – back into the hands of the Dark Mother/form of the Dark Mother. And now They’re here.

There’s a counter story ready and basically having the same ‘illuminati’ ending ready for/set in 2019 (when/after I was supposed to ‘die’ at 36, I’m a Winterborn so there’s crossover in the calendar year but by sometime in 2019) where ultimately the ‘coming’ ‘comet’ has no affect at all even after thousands of years of warnings and preparations by blood/breeding and genetic modification cults/labs and she lives ‘happily ever after’ with the ‘man’ she loves who she was unable to touch previously, and life goes on as if nothing happened, just dealing with the ‘endless struggle’ as usual instead of a dramatic change, they get to keep the Daughter whose come round to their way of thinking through ‘love’. Most recently reiterated in the Jupiter Ascending film, and changing Venus to Jupiter because Jupiter is more likely to take the ‘beating’/get in the way of the Ma-tri-X system or so some people ‘hope’/want to convey/persuade the Daughter to think. I came up with a character when I was 14 called Dark Angel based on my personality to be a fighter for the WWE (fight entertainment company with their ‘stables’), she ended up as the basis for Max in Dark Angel:

Similar to the use of characters Chyna and Lita in Relic Hunter and Dark Angel.

Goes well with the feeling many of us feel (and one of my favourite songs just before the show was released), who do their best but in the end just come to leave, and the game continues.

VNV Nation – Darkangel

Look at the flag of Alabama, what do you see? Yes it’s a rotated version of the English flag – Britain being the place the Daughter figure (e.g. my Mother and Gabrielle in Xena) is taken to be violated, turned into the Mother (but ultimately is saved by the Dark Mother – something they don’t realize or want to) and in the Xena story they ultimately turn Gabrielle back into a Daughter figure and Xena ‘dies’ becoming the Holy Ghost/Spirit (still the Dark Mother) who for the sake of the story stays with Gabrielle but in ‘reality’-meta-reality-other-secret-reality means she’s made invisible/changes/demoted/tricked/leaves/becomes less imposing/more ethereal/mythical. So they get to keep the newly empowered Daughter (who has the Dark Mother’s chakra[m]) who can work for them.

US state flags
The Red and White stripes were mentioned to me following my French visit post about people who knew I’d be visiting back in 2009 and I didn’t know they’d know. Those of the Red and White stripes (and different use of the lions) were glad I’d rejected that and as usual saw it as an association with them instead, begging friendship but making it look like me choosing them. The Red and White stripes is another way of referring to the English flag, which has also been used in the places in the following link interesting ways (like with the moon which is a satellite and reflector of the sun, for the Earth it can be called a smaller/second sun, a reference Sol’s twin but a false one hence its false association with the ‘feminine’ which is really everything/every cosmic body but epitomized by stars): https://en.wikipedia.org/wiki/St_George’s_Cross

(Interestingly though I’m not too surprised, is the use of it for Georgia and some people knowing without me telling them and highlighting that Rome/the current ‘pop[e]’ isn’t actually adverse to the Goddess nowadays, whilst Britain particularly England and Scotland still is.)

And of course the notorious Red Cross ‘charity’…

The song was written for a false Red&Gold (divinity) (and false useless ‘inheri[heir]tors’ thinking they’re royalty, as well as mixing up the Red – cosmic, and Earth – Blue/Green, to make Purple) place:

https://en.wikipedia.org/wiki/Mahagonny-Songspiel

The Little Mahagonny was based on five ‘Mahagonny Songs’, which had been published earlier in the year in Brecht’s collection of poetry, Devotions for the Home (Hauspostille), together with tunes by Brecht. To these five was added a new poem, “Poem on a Dead Man”, that was to form the finale. Two of the songs were English-language parodies written by Elisabeth Hauptmann: the “Alabama Song” and “Benares Song”. Using one or two of Brecht’s melodies as a starting-point, Weill began in May to set the songs to music and to compose orchestral interludes along the following pattern:

Song One | Little March | Alabama Song | Vivace | Song Two | Vivace assai | Benares Song | Sostenuto (Choral) | Song Three | Vivace assai | Finale: Poem on a Dead Man

The Little Mahagonny was first produced at the new German chamber music festival at Baden-Baden on 17 July 1927. Brecht directed, Lotte Lenya played Jessie, and the set-design was by Caspar Neher, who placed the scene in a boxing-ring before background projections that interjected scene-titles at the start of each section. According to a sketch published years later, they read:

-The great cities in our day are full of people who do not like it there.
-So get away to Mahagonny, the gold town situated on the shores of consolation far from the rush of the world.
-Here in Mahagonny life is lovely.
-But even in Mahagonny there are moments of nausea, helplessness and despair.
-The men of Mahagonny are heard replying to God’s inquiries as to the cause of their sinful life.
-Lovely Mahagonny crumbles to nothing before your eyes.

The song is written by ‘interesting people’ at an ‘interesting time’ as well, remember these are long term, very long term plans – a ’round’ in a game/battle – the wars of gods. Momo (the book, 1973, written by Michael Ende) and originally called ‘The Grey Gentlemen’ for example showed Brown-skinned Momo turning up out of nowhere, through a tunnel/hole/cave, and since no one wants to personally look after her they share her and say she can live in the amphitheatre. The song Alabama was written by a Beth/a-class Elisabeth Hauptmann (for Bertolt Brecht – who was focused on overt poli-tics rather than the symbolic/real rulers – so they had both sides, seen and unseen covered – and for those in the know the ‘hidden in plain sight’) who also co-wrote The Threepenny Opera starring a character of a name that one old influential and patriarchal family wanted me to have ‘Polly’ and as explained in the last post I made – an interview from Dr Salter done by Sott.net – they mention the PollyAnna Principle mentality of society (Anna being a Goddess connection too from the old Indian Annapurna aged/meaning 16 a reference/form of S[h]odashi the TriPura Sundari – or Lalita Tripura Sundari, both the and one of the Dasha (Ten) MahaVidyas (9 Kali/Dark Mothers forms completed made 10 as/by/of/with the whole Lalita, who were copied by later Durga’s imitations) who was then corrupted with the pairing of usurper Hinduism (male triad and fake ‘queens’ triad of Shaktism) with the ‘cradles of civilization’ where you also get Inanna/Ishtar. Annapurna keeps her food/plenty/fire/harvest/abundance connection in later Ishtar/Inanna versions in classical antiquity and by them completely even more corrupted/perverted/topsy turvy like ‘Mary’ style names, those names are often in the game/false Mountain rather than against/out of it). However, coming from a matrilineal line but who were corrupted by patriarchy I had to have an original not lesser/false Daughter name, because it means so much more to control the real thing. That said modern and ignorant but think they’re something masons in ‘sunnyland’ where we reside like to always call Mother by name instead of hers – Lalita (the original Creator, the G in their insignia – G standing both for Goddess and for ‘G’ as in ‘super’ from the Indian where you add ‘G’ at the end of the title to say ‘extra’ ‘super’ ultimate’, e.g. Mata Gi, Guru Gi, Master Gi – which they’ve lowered massively into ‘master’ and ‘grand master’.) They’ve always referred to her as Dolly instead of Lalita and have even consistently mispelled her name in multiple ways until I made them do it right every time and at other times call her ‘Molly’ or have someone standing near/passing addressed as ‘Molly’ instead. They refuse to acknowledge because they want the nicer Daughter instead, who they think will somehow give up the Mother for them the false ‘kin’ the manikins (especially those who’ve elevated/ascended/’rose’ – I’ll get to the ‘rose’ in another post – themselves to false god level and fear the Gods/Mothers) and if that doesn’t work will sacrifice herself [over and over again] and even the Mother [again].

Not happening and it’s too late anyway, so there motherf*ckers.

https://en.wikipedia.org/wiki/The_Threepenny_Opera

Overview
Set in Victor[y]ian London, the play focuses on Macheath*, an amoral, antiheroic criminal.

Macheath (“Mackie,” or “Mack the Knife”) marries Polly Peachum*. This displeases her father, who controls the beggars of London, and he endeavours to have Macheath hanged. His attempts are hindered by the fact that the Chief of Police, Tiger Brown, is Macheath’s old army comrade. Still, Peachum exerts his influence and eventually gets Macheath arrested and sentenced to hang. Macheath escapes this fate via a deus ex machina moments before the execution when, in an unrestrained parody of a happy ending, a messenger from the Queen* arrives to pardon Macheath and grant him the title of Baron.

The Threepenny Opera is a work of epic theatre. It challenges conventional notions of property as well as those of theatre.

* (Like Mac-beth, Scottish version.)

*Peach is an alternative softer/less knowing symbol for the apple, easier to control/abuse as a person. ‘You’re a peach… darl (doll), thanks [smirk/grin/wink or nowadays cough]’. ‘Life’s a peach’ goes well with the Pollyanna Principle and the story of the girl who played the glad game ‘gladly’ making the best of everything, rose tinted glasses, letting them get away with it – not intentionally but because people are taught to make the best of it and let the rest take care of it/themselves even if you’re using them, that can’t be helped, that’s just life. Bad things happen, then they pass, and look less bad over time (with revisionism, advertising and collective memory loss). Don’t worry it’ll all work out but really continues. ‘Keep Calm and Carry On’ with the [false] crown over it – an inversion of the Dark Mother in the book Aunt/Spinster Polly whose way would have actually been better for Pollyanna. The name wouldn’t have suited me for that reason but also because I’m not Dark Mother (and remember the Daughter and Dark Mother titles are honourary ‘Mother’ titles in that they don’t imply creative ability but are still carers/protectors.) Sorry (not) but I’m an ‘Angry [multi-element]Bird’ who was/is properly pictured as Red [fire/blood/star/divinity] though improperly portrayed as male 😉 and he does save the birds who can’t fly anymore because they’re so glad to live in glad/happyland society which they think is safe with all their rules/regulations/’events’ and then from the pigs/false security who steal their eggs/children/creative principle, very Animal Farm style.

*False ‘queen’ – Victory and Beth. Victory being the traditional/older reference for false queens (and a fusion from India-to-Britain).

(Think on why the Goddess figure – including masculanized figures like Superman – in superhero stories are often paired with/relationship wise a military or journalist male who doesn’t usually have her best interests at heart, but wants to keep her for [secret] ‘society’s agenda too.)

I hold the scythe, I am fate, I am the unicorn, I reign myself, the chooser of divinity and I was both chosen and have chosen myself the Daughter, I have found the Mother and signalled the Dark Mothers return and became the Dark side of my Daughter self. I rose from the ashes and I am the last. Death is my gift. Real Death not the false death of this poisoned planet. Death is a blessing/honour for the good and punishment for the bad. Death/She is beautiful, She is both radiant and dark. You’ve lost. Do yourselves a favour and surrender.