Vigilant Citizen 
August 28, 2013
The 2013 edition of the VMAs was not about music. It wasn’t even about the symbolism I’ve described in past years. It was basically MTV saying: “There is nothing to celebrate in pop music this year, here’s an awkward, cringe-worthy display of everything that is wrong in the entertainment industry”.
I’ve written extensive articles about past VMA awards because they were filled with occult symbolism and messages. This year, not so much. It was about promoting major artists and their newest albums. But mostly, it was about providing a “shocking” moment that would get mass media talking for days. Miley Cyrus provided it.
Miley Cyrus: The Industry Slave Chosen to Take the Fall
Miley Cyrus’ display at the VMAs was qualified by many as “trashy” and “embarrassing”. It was indeed a strange sight to see. It was as if she was doing it on purpose to embarrass herself. Well, here’s a moment of clarity: It WAS done on purpose and, moreseo, it was ALL staged. People commenting on Miley Cyrus appear to forget one, massive detail: There is an enormous marketing machine behind Miley Cyrus and there always was.
Miley’s image has been heavily marketed by Disney since the days she took on the role of Hannah Montana – a girl who (appropriately enough) had a stage alter persona, with a different wig. Hannah Montana products often had butterflies on them, a slick reminder of how she was a Disney programming slave.
Until 2013, Miley was signed with Hollywood Records, a record label that was founded by Michael Eisner, the CEO of Disney. Hollywood Records also owns other child stars such as Demi Lovato, Selena Gomez and the Jonas Brothers. Every artist in the record label’s stable has a carefully crafted image to be marketed to its target public. Miley is now working with Britney Spears’ ex-manager Larry Rudolph and signed with RCA records – one of the biggest music labels in the world that owns the likes of Justin Timberlake, Britney Spears and Ke$ha.
As a product of Mickey Mouse programming, Miley underwent a classic “good girl gone bad” treatment. Once a good, wholesome daddy’s girl, Miley has turned into a bratty, sex freak who keeps sticking out her tongue and twerking for no reason. While most people are probably tsking at Miley, they do not realize that this whole thing coincided with the release of her new album – and that it was all ordered by her handlers. In other words, she was selected and programmed to be this year’s main example of a “good girl gone bad”, a process the occult elite wants the public to constantly witness. They want the masses to see innocence and wholesomeness turn into sleaze and trash. They want pop culture and the youth in general follow the same process. While alchemy is about turning stone into gold, the masses are made to witness the opposite process.
Miley’s VMA performance is about a child star who was beloved by millions of young people showing what the industry has done to her. It is about shattering the innocence of her fans by having them witness her metamorphosis into one giant sex-obsessed caricature. I’m using the word caricature because it is safe to say that Miley was not 100% herself during the VMA’s. Her oversexualized demeanor was characteristic of a Beta programming slave who had the switch turned “on”. It was, however, not only about being overtly sexual. It was also (and mostly) about being annoying and embarrassing herself – as if it was a sick, humiliating ritual. Dressed and styled to look like a bratty child, jumping around with giant teddy bears, Miley’s performance was all about getting a negative reaction from the public while continuing the ongoing agenda of sexualizing everything that is related to childhood.
Things got even stranger when Robin Thicke came out to perform Blurred Lines. As its name somewhat stipulates, that song blurs the line between being a flirty and all-out creepy. Its video has a strange handler-slave vibe, where Robin, Pharell and T.I. are all sharply dressed while the women dancing around them are completely naked … and being sung lines such as “You’re an animal”.
While “Blurred Lines” appears to be nothing more than a “fun and sexy video”, the fact that the singers are fully dressed while the models are completely naked denotes a strong relationship of dominance. Forcing slaves to be naked while the masters are dressed is a classic psychological ploy to make slaves feel powerless, vulnerable and inferior.
It is therefore not a coincidence that Miley sang this particular song during the VMAs. Her whole act goes with the spirit of the song and, like in the video, there’s a handler/slave relationship going on in during the performance.
During “Blurred Lines” Miley acted like a true Beta programming slave – while Robin acted like a handler. His strange suit featured a dualistic pattern that is used during the programming actual MK slaves. There was also something strange about seeing 20-year-old girl (dressed to look younger) rubbing herself on this 36-year-old (married) man.
As Miley was going crazy on stage, shots of the audience revealed how it was not amused. Facial expressions were ranging from shock, to despair to “WTF”. One could almost feel the hate emanating from the room – and the entire nation – while she was performing. And that is what “they” (Miley’s handlers) were gunning for. Miley was primed and set up to take that fall. Miley was even ridiculed during the intro of her own performance. The MTV awards needed its trademark “shock” moment and the industry needed its “sacrificial lamb” to keep its sick, occult, MK-Ultra system going.
The one-eyed pedo-bear shirt she had on told her entire story.
The one-eyed, wasted pedo-bear basically told the world who was behind this staged “false flag event”.
While the “controversy” around Miley might help her sell more records for a while, the ongoing public humiliation that is forced on her by her handlers will most likely lead to some kind of meltdown in the future. In an article published in 2011 , Miley’s father Billy Ray Cyrus stated that her handlers (that’s the word he used) cut him out of the loop and told him to “mind his business”. Like other industry slaves, Miley has no contact with her family. In the interview, Billy Ray added that “Satan was attacking his family” that he was afraid to see her go down the same tragic path as Anna Nicole Smith (a Beta Kitten slave) and Michael Jackson (killed by the industry).
This performance and the public backlash that followed is proof of the tight control the industry has on its slaves. I am pretty sure that, deep down inside, Miley knew that this is all ridiculous and embarrassing. But there’s nothing she can do about it.
There wasn’t much more to the VMAs this year. I can imagine MTV execs telling Justin Timberlake’s people:
– What song will Justin perform?
– His latest single.
– That’s not enough. We’ve got a lot of dead time to fill here.
– How many songs do you want him to sing?
– ALL OF THEM.
– Make him sing EVERY DAMN SINGLE he ever recorded. Bring back goddamn NSYNC if you have to. We’ve got a whole of free time to fill here.
– Um, OK.
But seriously, other than Miley Cyrus, Lady Gaga also got a little attention. Her new singleApplause is basically a continuation of her “Fame Monster” theme where she’s a performer that desperately seeks attention and fame. Gaga is ready to do anything to get it, even if that means doing the elite’s bidding and throwing around its symbols.
Gaga began her performance with her head inside a white square – as if saying that she’s a “blank canvas”. She is ready to be painted in any way possible to get applause.
We quickly see who “paints” Gaga.
During her first verse, Gaga wears the wig she had in the videos from her first album such as Paparazzi (read the article about it here ). She does the one-eye thing to make sure you know that her blank canvas was filled by the Illuminati Agenda.
During the second verse, she wears the wig she had in the video “Telephone” – the video was about MK programming and killing civilians … remember? She does the one-eye thing again so you know that was also part of the Illuminati Agenda.
In the last part of her performance, Gaga unveils her last “persona” – an embodiment of the goddess Venus as depicted in “The Birth of Venus” by Botticelli.
Why did Gaga embody Venus? The association between the planet Venus and lust goes back thousands of years – since the times of Ishtar, the Babylonian goddess of sex and lust who was associated with Venus.
Gaga spent the rest of the VMAs as Venus, basically sitting there in a thong, letting people know that she is now Venus, goddess of sex. There is also a second, occult level to the importance of Venus in occult mysteries.
“As the morning star, Venus is visible before sunrise, and as the evening star it shines forth immediately after sunset. Because of these qualities, a number of names have been given to it by the ancients. Being visible in the sky at sunset, it was called vesper, and as it arose before the sun, it was called the false light, the star of the morning, or Lucifer, which means the light-bearer. Because of this relation to the sun, the planet was also referred to as Venus, Astarte, Aphrodite, Isis, and The Mother of the Gods.”
– Manly P. Hall, The Secret Teachings of All Ages
The “Mother Monster” is apparently now the “Mother Goddess”. Gaga’s performance was, in short, a tribute to her past personas, and the “birth” of a new one – one that fits with the mythology and symbolism of the occult elite.
While mass media backlash against Miley Cyrus is solely directed at Miley Cyrus, the big picture is completely being missed (or ignored). If “observers” and “critics” took their faces out of her bony behind and took a step back, they would maybe see what is truly happening: Miley Cyrus is, more than ever, owned and controlled by an enormous machine. Her image, her music and her performance is fully determined by her handlers. For some sick reason, she was chosen this year to embarrass herself and to traumatize all of the young people who grew up watching her. Miley was offered as a “sacrifice” to the public while adding to the complete breakdown of popular culture. Her performance was choreographed and staged to be as annoying and distasteful as possible. From the bratty hair, to the unflattering outfit, to the constant sticking out of the tongue, to the obsession with “twerking” without having the physical attributes to pull it off … it was all planned to piss the world off.
While the masses are laughing and pointing at Miley Cyrus, those who handle her are laughing and pointing at the masses … because they’re falling right into this sick humiliation process. While I am not looking to add to the Miley Cyrus noise, someone needs to say it: She’s a puppet and we need to look at those who are pulling the strings. We also need to look at what they are doing to people such as Miley Cyrus and, more importantly, to our youth in general. This is not about a single girl who lost her way, it is about a system making the world lose its way.