Lady GaGa

Project MK-ULTRA, or MKULTRA, was the code name for a covert CIA mind-control and chemical interrogation research program, run by the Office of Scientific Intelligence. The program began in the early 1950s, continuing at least through the late 1960s, and it used United States citizens as its test subjects. The published evidence indicates that Project MK-ULTRA involved the surreptitious use of many types of drugs, as well as other methods, to manipulate individual mental states and to alter brain function. Although the CIA insists that MK-ULTRA-type experiments have been abandoned, 14-year CIA veteran Victor Marchetti has stated in various interviews that the CIA routinely conducts disinformation campaigns and that CIA mind control research continued. In a 1977 interview, Marchetti specifically called the CIA claim that MK-ULTRA was abandoned a “cover story.” An outgrowth of that project is unofficially referred to as “Project Monarch”. It is a mind control technique which exposes the subject to a trauma so violent that his/her mind creates a dissociation. The victim’s brain becomes compartmentalized and a new personality, which is then molded and educated by the manipulators, emerges. What we must retain here is the symbolism Monarch project engendered and its use in mass media. Monarch is a type of butterfly and became the ultimate “insider’s”symbol of mind control.

Lady Gaga incorporates in her videos, photos and shows symbolism that refers to the Illuminati and mind control. Her symbolism is deep, esoteric and even spiritual yet she makes song like “Just Dance” which is about being totally numb. This paradoxical aspect of Lady Gaga is something that deserves to be analyzed and understood. While masses of young people imitate Gaga’s gestures, her act is part of a bigger system that incorporates many other stars with the same symbolism. She is creative and a gifted song writer. But at the end of the day, the “Lady Gaga” persona is a Fame Monster, doing everything required to be an international superstar, including incorporating in her act the symbolism of the elite, making her an Illuminati puppet.

Symbolism surrounding Lady Gaga, in her pictures and videos, mixes those symbols with occultism of secret societies. Her vacuous, robotic and slightly degenerate persona embodies all the “symptoms” of a mind control victim. Let’s look at what Lady Gaga represents, starting by the basics: her name. Gaga is a term that immediately refers to absent mindedness. “Gaga” is probably the easiest word to say in the English language, as it is often the first sound emitted by babies trying to imitate speech. So her name basically says: I’m a lady and I’m empty-headed. This empty head can filled with any crap you want. Imitate me young people. This state of mind is achieved after successful mind control. Her name is also said to be inspired by Queen’s song “Radio Gaga”. The video of this song contains many scenes of the 1927 movie Metropolis. The motion picture tells the story of a woman from the working class that was chosen by the elite to give life to a robot, through a mix of science and Black magic. This robot becomes a sexy and alluring performer and is given the goal to corrupt the working class. References to this movie abound in music videos, as if it was very significant for the occult elite. Madonna, Beyonce, Kylie Minogue and many others have taken the likeness of this female robot and, as you’ll see in the “Paparazzi” video, Lady Gaga also continues this “tradition”. Her logo is pretty revealing and particularly fitting. Its a headless female body with a bolt of lightning going through her and exiting her genitalia. There is once again a focus on the lack of conscious thought by the singer. The body looks like the weird headless mannequins you find at clothing stores. The bolt of lightning implies that her thoughtless body has been “charged” with a force that gives it life (interesting note: trauma-based mind control is often induced using electro-shock treatments). You only need to look at a couple of Lady Gaga pictures or videos to notice that she is constantly hiding one of her eyes. Most people will simply interpret this as ”a cool thing to do” or a “fashion statement”. Those who have passed the 101 of Illuminati symbolism know that the All-Seeing Eye is probably its most recognizable symbol. The gesture of hiding one eye, usually the left one, goes way back in occult orders. Here’s an explanation of the origin of the Eye of Horus. Horus, the sun of Osiris and Isis was called ‘Horus who rules with two eyes’. His right eye was white and represented the sun: his left eye was black and represented the moon. According to the myth, Horus lost his left eye to his evil brother, Seth, who he fought to avenge Seth’s murder of Osiris. Seth tore out of the eye but lost the fight. The eye was reassembled by magic, by Thoth, the god of writing, the moon and magic. Horus presented his eye to Osiris, who experienced rebirth in the underworld. Her videos: Almost all of Lady Gaga’s videos contain occult symbolism and not-so-subtle hints referring to mind control. We’ll first look at a short video used as an intro during her tour. Lady G is talking in a vaporous and robotic way, as if she was lobotomized, about a man who “swallowed her brain”. Gaga is questioned by a man who is talking in a very strange and hypnotic matter. If this is not about mind control, I have no idea what its about. /source

Paparazzi video:

It basically describes the fall and rise to the top of Lady Gaga, who, during the process, went through a huge metamorphosis. Lady is in a bedroom with her boyfriend and they’re “getting it on”. Notice the Masonic checkerboard pattern on the wall and a ram’s head, representing Baphomet. He takes her outside on the balcony (which also features a checkerboard pattern). After noticing cameras taking pictures, the guy starts acting strangely and things get violent. He finally pushes Lady off the balcony. While falling down, the background becomes a swirling pattern, typically associated with hypnotism. Lady Gaga falls down rather stylishly, hinting the fact that this descent is not physical. It represents the “trauma” victims of mind control have to go through in order to be “rebuilt from scratch”. Lady Gaga then enters a mansion in a wheel chair and gradually takes off her clothes. She slowly starts walking, with the help of crutches, representing her reeducation by the occult elite (she is inside a mansion). She is dressed like a robot, hinting Maria from the movie Metropolis. Another scene shows her dancing in a half white/half black wedding dress. This signifies her (forced) association with the “dark Brotherhood”. Her transformation is then complete. We then see her next to the boyfriend that pushed her off the balcony. She is wearing Mickey Mouse clothes, hinting once again Monarch programming. She is behaving in a very robotic way, as if her thoughts and actions were controlled by someone else. Gaga then proceeds to poison the guy and smiles very weirdly about it. The fact that she murdered her boyfriend refers to the level “Delta” of the Monarch project, which is also known as the “killer” programming. Here’s a description of it:
DELTA. This is known as “killer” programming, originally developed for training special agents or elite soldiers (i.e. Delta Force, First Earth Battalion, Mossad, etc.) in covert operations. Optimal adrenal output and controlled aggression is evident. Subjects are devoid of fear; very systematic in carrying out their assignment. Self-destruct or suicide instructions are layered in at this level.-(Dr. Corydon Hammond, Project Monarch Programming Definitions). After carrying out her murderous mission, Lady Gaga is more popular than ever and reaps the rewards of being an Illuminati slave...

Born This Way video:

The introduction basically involves around G.O.A.T (which stands for Government Owned Alien Territory) and the ‘declaration’ of the Manifesto of Mother Monster. Mother Monster basically envisioned a world where no prejudice exists (and beings with pointy shoulders). We’re given the Mother Monster Manifesto, which is really sort of a long-winded, gorgeously styled way of saying “In the future, we will all look the same, have pointy shoulders and love each other without prejudice.” And so, as the Eternal Mother gives birth to The New Race from above, so too does Evil spring forth from the womb of the underworld. Mother Monster gives birth to a race who are ‘good’ (for a lack of a better term). However, the evil race also gets born in the process. This leads GaGa to say “How can I protect something so perfect without evil?” So the dancing sequence begins... Some scenes do not actually provide continuity to the plot. Rather, aesthetics seem to be the name of the game especially in the scenes with the skeleton duo that resemble Zombie Boy. The final scene with the white gloves and that lone tear while facing the camera which eventually leads to people seeing the gap-toothed version of GaGa. These two elements in the final moments of the plot obviously reference the late King of Pop, Michael Jackson and the Queen of Pop who is Madonna. Discussion can go on and on whether GaGa is simply paying her respects to the two icons in Pop or declaring that she belongs with them.

Judas video:

(yes, we know Madonna did it too with "Like a Prayer") She's moving in a new direction from her bluffin' muffin,' Poker Face days: Gaga's going philosophical. And in her own words, "The cultural baptism cannot be stopped." Looks like Gaga's talking about herself here, and perhaps taking a deeper look into her role in this world using allusions she and quite a few others in this world know so well. The song and video are told from Mary Magdelene’s perspective, with lyrics such as, “When he comes to me, I am ready/ I’ll wash his feet with my hair if he needs/ Forgive him when his tongue lies through his brain/ Even after three times, he betrays me/ I’ll bring him down (Jesus), a king with no crown…” The demon that overtook Judas was said to be Satan himself. So the demon she cling to is not Judas but Satan. Lady Gaga is a vehicle for satanic propaganda, she is a mindless robot that carries a message, she sold her soul for fame. Her deep symbolic occult gestures are welcomed by the mindless masses and imitated because she is cool.

Libya: War Against Africa

Libya: NATO's War Of Aggression Against A Sovereign African State

By Obi Nwakanma

June 06, 2011 "Vanguard" -- France and Great Britain, leading a NATO alliance, are effectively at war in Libya on the pretext of a United Nations’ mandate. The United States, led the early charge against Libya’s Ghadaffi from the air, but has taken something of a back seat, and allowed Britain and France to continue what can now be considered a war of aggression against a sovereign African state, far beyond the mandate of the UN. They have been bombing Libya relentlessly from the air. They have killed Ghadaffi’s son in a direct personal attack on the home of the Ghadaffis. The relentless strafing of Tripoli, the Libyan capital, in the past two weeks has also led to serious civilian casualties which the Libyan authorities have reported and which NATO has denied. The NATO alliance at the fore of this new colonial war in Africa has now moved beyond its mandate to seek regime change; to undermine the sovereignty of Libya, and create a civil war situation in this North African country and member-nation of the African Union. The French have positioned their aggression against Libya as a fight to free Libyans from the tyranny of Moumar Ghadaffi. They have not hidden the fact that they wished to make it impossible for a transition of power from Ghadaffi to a newer generation of Libyan nationalists who may follow in the state policies of Ghadaffi, particularly as it affects oil. It is not a secret that Libya sits on the vastest oil field in Africa and that Ghadaffi has prevented the international oil cartel from exploiting Libya’s oil and had forced them to comply with the strictest standards in oil production. It is no longer a secret that behind this NATO alliance war on Libya, and far beyond the “do-good” face it places or wears as its mask as its reason for bombing Libya to smithereens, is the quest to control the oil fields of Libya, guarantee Western access to energy sources in the face of growing concern over the rise of China and India and their own emergent gluttony for oil, and, of course, solve the problem of an intransigent African nationalist challenge to Western shenanigans. It is the 19th century all over again. Libya is the first flashpoint in the resource war that is bound to once more make Africa the battlefield of the great industrial powers. Once they take out Ghadaffi, that challenge to organise and fund a formidable African resistance against a new colonial mandate using the UN will weaken. The new scramble for Africa will more than likely commence. It is, therefore, ridiculous that Nigeria, a more than likely victim of this potential threat sits idly, voting with those who have launched a new aggressive war on Libya. The Nigerian government under President Goodluck Jonathan has failed to understand the wider dimensions of this NATO campaign on Libya. The Nigerian delegation was among those African countries who sided with the voters in the UN to commence the operations in Libya. The mandate, of course, was for a low-grade, protective operation against the potential of the Libyan military use of force against civilian populations, particularly in Benghazi, the so-called outpost of the Libyan resistance. Last week, at the G-8 meeting in France, and, in justifying America’s participation in the fight in Libya, the US President Barack Obama said it was a pre-emptive action by the NATO alliance, presumably the world’s chief defenders of humane mores and democratic freedom, to prevent a possible massacre of wide proportions against the Libyan civilian opposition against Ghadaffi. But the Libyan opposition is not a civilian opposition, it is an armed rebellion. The UN decision in which Nigeria participated basically tied the hands of the legitimate government of Libya behind its back, gave ammunition to a fringe rebellion, and has aided a civil war in Libya in which Libya’s national Armed Forces was prevented through relentless air attack from defending the territorial integrity of the Libyan state for which it is established. The West has aided a small fissiparous and ill-organised militia to destroy an African country. It is like NATO deciding to bomb the Nigerian Armed Forces if it goes after the increasingly organised Boko Haram militia in the North. Nigeria has in voting with France and Great Britain and the NATO alliance given ammunition to the new conquest of Africa and this is why she is seen roundly in Africa and by most Africans as the handmaiden of the West. This image of Nigeria as a consistent ally of the West against the interests of a free, independent, and prosperous continent is why most Africans and African nations do not take Nigeria seriously, and even, in fact, are amused by its claims of leadership in Africa. They think her quest for the UN seat is a joke given the weakness of its leadership and the inconsistency of its foreign policy. But contrast this with the strategic position of the South Africans on this matter, leading the African union to demand an immediate NATO cessation of the bombing of Libya. Last week, Jacob Zuma, the South African President went to Tripoli for consultations with the Libyan authorities, and the African Union issued a demand for NATO to stop bombing Libya. It is a follow-up to AU’s earlier intervention in which they have proposed a negotiated settlement between Tripoli and Benghazi. But NATO countries, busy setting up new embassies, and cutting new oil deals with the Libyan rebels against the long-term interest of Libya, are fobbing off any attempts for the Africans to sort out the situation in Libya and ease off Ghadaffi with less sanguinity. It is remarkable that Nigeria’s own president has continued to play possum to this NATO disregard of the African Union. Indeed, within the week of Zuma’s visit to Tripoli, NATO announced heightened military action against Ghadaffi’s Libya, and the use of more direct boots on the Libyan streets. The use of Western troops in Africa – particularly in the case of France – the use of its paratroopers, first in Ivory Coast, and now in Libya, represents a new strategic declaration of war against Africa, the African interest, and the African continent. In NATO’s disregard of AU, there is without doubt a remanifestation of that ontological disease of the Western mind that regards Africa as simply a place without history and without agency. It is not surprising that Sarkozy is leading this war in Africa. Here was a man who came to Africa, at the Cheik Anta Diop University in Dakar to declare that “the African man has not entered history;” he is still a hewer of wood fit only for the enlightened charity of France and the West. At the core of Sarkozy’s racist mind lies this quest to cut Libya and Ghadaffi down to size and seize her property – the oil. But here is the irony: the West had to wait for a weakened Ghadaffi, weakened by his decision to dismantle his nuclear arsenal and open up to the West, before the NATO alliance in a joint and cowardly effort decided to attack him from the air using a UN mandate. What is the lesson here? Nigeria must be alert to its duties to the continent and join the AU effort to more forcefully demand NATO’s cessation of her bombing operations in Libya, failing which it must then regard further operations in Libya as an open act of war and aggression against an African country. Africans have a right to defend themselves and their continent by all means necessary. Perhaps, it is time to re-open the discussions about an African High Command.