Roman Polanski’s “Rosemary’s Baby” and the Dark Side of Hollywood

By VC |

The 1968 movie “Rosemary’s Baby” is one of Roman Polanski’s most chilling and acclaimed productions. The film describes the manipulation of a young woman by a high-society occult coven for ritualistic purposes. The movie’s unsettling quality does not rely on blood and gore but on its realistic premise, which forces the viewers to ponder on the likelihood of the existence of elite secret societies. Even more unsettling are the eerie real life events that surrounded the movie involving ritualistic killings and MK Ultra. We will look at the symbolic meaning of “Rosemary’s Baby” and the stranger-than-fiction events that followed its release.

Although articles on the Vigilant Citizen usually pertain to new releases, a look at the past is often necessary to better understand the present. The state of today’s Illuminati  pop culture is not a spontaneous trend that sprung out of nowhere. Rather, it is the result of years of occult influence on the entertainment industry and the gradual conditioning of the masses to certain messages and symbols. Although pop culture has always been tainted by the elite’s agenda to shape and mold young minds, it is during the 60s and the 70s that MK-Ultra stooges and dark secret societies became visible parts of the mix. The need to quell the anti-war and anti-establishment movements of the 60′s forced the elite to infiltrate and disrupt the culture. A series of destabilizing events occurred to shock idealistic minds and heroes became enemies. The “Peace and Love” of the 60s became Charles Manson and LSD in the 70s.
Roman Polanski’s Rosemary’s Baby and its story about the manipulation of a young woman by an elite witch coven to carry and give birth to the Anti-Christ captured the mindset of this era and became symbolic of the irreversible shift that happened in the late 60s. However, it is the real life events surrounding the movie that truly defined this era: Less than a year after the release of Rosemary’s Baby, Roman Polanski’s pregnant wife was ritualistically murdered by members of the Charles Manson family. This horrific event brought a brutal end to the “good vibrations” of the 60s and is viewed by many historians as pivotal moment in American history. We will look at the symbolic meaning of Rosemary’s Baby and analyze the strange events surrounding it, which involve occult secret societies, mind control and ritualistic murders.

Rosemary’s Baby

Roman’s Polanski’s 1968 movie is a faithful adaption of Ira Levin’s best-selling novel that appeared only a year before. Although it contains no blood or gore, Rosemary’s Baby is considered to be one of the scariest movies of all time. Why? The creepy nature of the film is not in its special effects, but in its realistic premise. The story takes place in a real apartment building (the Dakota) that has a real reputation of attracting eccentric elements of New York’s high society. The evil coven is not composed of stereotypical, pointy-nose witches but of friendly neighbors, prestigious doctors and distinguished individuals. They are elegant, rational and intelligent and are connected to important people. The realism of the movie forces the viewers to ponder on the existence of such groups, to a point that some feared that the movie, after its release would cause an all-out witch hunt. Rosemary’s manipulation is also extremely realistic, causing the viewers to think: “It could happen to me”.

The Setting

The movie starts with a pan-and-glide shot of the New York skyline, showing rooftops of buildings, finally settling on the prestigious Dakota Building  (renamed “The Bramford” in the movie).

The Dakota Building (dubbed the Bramford in Rosemary’s Baby)

The Dakota, and other buildings of the Upper West Side, are known to be home of New York’s aristocracy (the “old money”). The Dakota has also attracted celebrities such as actors, singers and writers . It is the “place to be” for New York’s elite.
In the movie, the Bramford is rumoured to have been the site of numerous strange events involving black magic and ritual killings. Adrian Marcato, a rich man practicing witchcraft was almost killed in the lobby of the building. Ten years later, John Lennon, who lived in the Dakota, was murdered in front of this same building. During the introduction of the movie, the Bramford is just one of New York city’s many rooftops, concealing within its austere walls occult rituals the average person would never suspect.

The Young Couple

John and Rosemary Woodhouse visiting the Bramford

Rosemary and Guy Woodhouse (played by Mia Farrow and John Cassavetes) are a young couple who are looking to rent an apartment at the Bramford. Guy is a struggling actor who is not able to obtain recognition or important roles and has to resort to appearing in degrading TV commercials to generate some income. Rosemary is a frail and shy country girl who comes from a strict Catholic background. The name Rosemary has historically been associated with the Virgin Mary, who is said to have spread her cloak over a white-blossomed rosemary bush when she was resting, turning it blue. In the movie, the kind and trusting Rosemary will become a sort of “Black Virgin Mary”, bearing within her womb the child of Satan.

The Castevets

Minnie and Roman Castevet, a distinguished yet eccentric elderly couple.

Once settled in their apartment, the Woodhouses meet their neighbors the Castevets, a friendly but nosy elderly couple who invite them for dinner. During this important evening, Roman Castevet compliments Guy on his acting, claiming he has an “interesting inner-quality” and “that is should take him a long way” … provided he gets those initial breaks (we later learn that those breaks come easier when one is part of their cult). Roman claims his father was a theatrical director and that he worked with all of biggest stars of the time (his father is actually Adrian Marcato, the witch who almost got killed in the building’s lobby).
In the kitchen, Minnie asks Rosemary several questions concerning the number of children in her family. She is obviously very interested in the “child-bearing” qualities of Rosemary.
In the living room, Roman is privately discussing with Guy.

Roman and Guy’s important discussion

Guy learns about Roman’s witch coven and occult rituals. He is also told that his career will succeed if he were to join them. The price of entry is however steep: He must allow his wife to be drugged and impregnated by Satan during an occult ritual.

Under Their Control

Although he did not like the elderly couple at first, Guy joins the coven and becomes good friends with Roman. Rosemary, who has no idea of these dealings, becomes weary of the couple and their strange behavior. During a pop-in visit, Minnie gives Rosemary a pendant containing tannis root (a fictitious plant), claiming it to be a good luck charm.

The spherical pendant was previously worn by a young woman who was living with the Castevets. The elderly couple found her living on the streets (mind-control handlers prey on such lost individuals). The woman killed herself by jumping out of a window, probably after learning about the Castevets occult plans for her. The pendant becomes symbolic of the coven’s mind control.

The same night, Guy obtains the leading role of a play because the original actor suddenly became blind. This strange event convinces Guy of the coven’s power, quelling all his doubts regarding its ability to help his acting career. Rosemary soon notices a drastic change in Guy’s attitude: Her husband is “suddenly very hot”, landing big roles here and there. He is also becoming “self-centered,” “vain,” “pre-occupied,” and “self-absorbed”. Funny how this describes the changes seen in celebrities who “sell their soul” for fame.

The Ritual

One night, Guy brings flowers to Rosemary and abruptly proposes, “Let’s have a baby, all right?”. He circles the best days on the calendar to start having sex – October 4th or 5th, 1965. (The coven had determined that these were the prime days for copulation to obtain a numerologically-correct birth). While the couple has a romantic dinner as a prelude to lovemaking, Minnie knocks at their door to drop off a dessert she made. Rosemary finds that the chocolate mousse has a “chalky taste” but Guy insists that she eats it. Her mousse contained drugs and Rosemary becomes dizzy.
During her trance-like state, Rosemary has incoherent hallucinations involving a JFK look-a-like (the only Catholic US President, who died six years before) images of the Sistine Chapel and the Pope (who is wearing Rosemary’s spherical pendant, symbol of occult control). She is then seen naked on her bed, surrounded by her husband, the Castevets and the entire witch coven, who are chanting ritualistic hymns while an occult ritual is practiced on her.

Markings on Rosemary’s chest, on par with “real” Satanic rituals.

In her dream-like state, Guy begins making love to her, but his appearance changes into a grotesque beast-like figure resembling the Devil, with yellowish eyes and clawed, scaly hands. He strokes the length of her body with his hairy claw. While being ‘raped’ Rosemary realizes:

“This is no dream, this is really happening!”

There have been persistent rumors claiming that Anton LaVey, the founder of the Church of Satan, played the uncredited role of Satan during the impregnation scene, and also served as a technical advisor for the film. There is no proof of LaVey’s involvement in the movie but he was nonetheless linked to the movie’s aura in another way: Susan Atkins, the member of the Manson family who later murdered Polanski’s pregnant wife Sharon Tate, was an ex-follower of Anton LaVey.
Soon after, Rosemary learns that she is pregnant.

The Pregnancy

Right after learning about Rosemary’s pregnancy, Guy knocks on the door of the Castevets to inform them of the “good news”. Minnie immediately recommends that Rosemary sees “the finest obstetricians of the country”, Abe Sapirstein. He is the elite’s doctor as he “delivers all high society babies”.

Dr. Sapirstein turns out to be part of the Castevet’s witch convent. He uses his prestige and authority to manipulate Rosemary during her pregnancy.

The famous real-life April 1966 cover of Time Magazine in Dr. Sapirstein’s waiting room.  LaVey’s “Church of Satan” was established during the same month of the same year.

The doctor orders Rosemary to avoid all pregnancy books and all friendly advice because “no two pregnancies” are alike. In reality, he knows that this unholy pregnancy will be extremely painful. He also requires Rosemary to consume daily drinks made by her neighbor Minnie Castevet. Rosemary becomes therefore totally dependent on members of the coven for all issues regarding her pregnancy. They keep her sheltered from the outside world, monitored and sedated through numerous ways:

Cakes and drinks made by Minnie

Prescription pills from Dr. Sapirstein

Shots from the Doctor. Rosemary is kept blind to surroundings the same way the general population is: through mind numbing foods, drinks, pills and vaccines.

Even the air Rosemary breathes is controlled by her handlers through air conditioners. At one point Rosemary turns off the air and opens a window – symbolically getting a grip on reality. Rosemary’s caretaker immediately says: “Did you turn off the air conditioner? You mustn’t do that, dear.” She closes the window and turns the air conditioner back on.

Rosemary’s pregnancy is extremely difficult. She loses weight and she keeps feeling sharp pains in her stomach. Dr. Sapirstein dismisses her concerns, telling her that the pain would go away. Rosemary becomes weary of her neighbors, who are a little too “interested” in her pregnancy. She then obtains a book from a concerned friend (who mysteriously dies afterwards): All of Them Witches.
The book describes the Castevet’s international secret society, which is known to practice blood rituals. Rosemary then buys more books on witchcraft. She is seen reading a passage which might describe the reason why Guy had been obtaining important roles.

“Many people during that time died supposedly natural deaths. Since then it has been determined that the United Mental Force of the whole coven could blind, deafen, paralyze, and ultimately kill the chosen victim. This use of a United Mental Force is sometimes called a coven.”

Rosemary reading Eliphas Levi’s Rituals and Dogma. Notice Levi’s depiction of Baphomet.

Rosemary attempts to escape the coven’s control and seeks help but she is tracked down and brought back home. She is drugged by Dr. Sapirstein and, soon after, she goes into labor.

The Baby

When Rosemary wakes up, she is told that her baby was dead (it was taken by the coven). Guy tries to comfort his wife by telling her that big movie production companies like Paramount and Universal were interested in hiring him. He was also promised a big house Beverly Hills – all rewards for Guy’s initiation into the coven and Rosemary’s sacrifice.
Determined to find her baby, Rosemary sneaks into the Castevets’ apartment and stumbles into a Satanic “Adoration of the Magi” scene, with people from all over the world bringing gifts to the baby.
When Rosemary sees the baby’s reptilian eyes, she starts screaming. Roman Castevet tells her:

“Satan is his father, not Guy. He came up from hell and begat a son of mortal woman. Satan is his father and his name is Adrian. He shall overthrow the mighty and lay waste their temples. He shall redeem the despised and wreak vengeance in the name of the burned and the tortured. Hail, Adrian! Hail, Satan! God is dead! Satan lives! The year is One, the year is One! God is dead”

The birth of Rosemary’s baby is the new “Year One.” It is also accurate by Church of Satan standards to call 1966 Year One. This is a self-conscious, parallel reference to the year of Jesus Christ’s birth, also in Year One, A.D. Another unstated fact: The baby is born in June 1966, which is numerically 6/66.
Roman then asks Rosemary to be a “mother to her child” and to take care of the baby.

Roman asking Rosemary to take care of Adrian, who is in a black cradle and under an inverted cross.

Unable to resist her instinctual, almost animalistic need to respond to her baby’s cries, Rosemary starts rocking the cradle.  The movies ends with a rather unsettling scene: The coven gathers around Rosemary while she takes care of the monstrous baby. She accepts the reality of the situation and faintly smiles.
The camera moves to the curtained window and then to the outside of the apartment – ending the film with the same, slow pan across the urban rooftops that opened the film … all of these events happened inside one of New York’s many rooftops and no one will ever suspect a thing.

Aftermath of the Movie

While some will consider Rosemary’s Baby to be nothing more than a scary movie playing on the sensibilities of devout Christians and young mothers, others see it as Roman Polanski’s courageous exposition of high society’s occult mind state. Many however see the movie as an occult manifesto, heralding a new era.  Rosemary’s Baby is Aleister Crowley’s “Child of the new Aeon”, or Horus the son of Isis – the bringer of a new era in world history. Whether it was intentional or not, Rosemary’s Baby did appear at the brink of a new era and became part of an important social change.

“The movie appeared at a moment of optimum spiritual chaos in American life. Rosemary’s Baby remains an iconic memory trace of a time when anything seemed possible, including the birth of the Anti-Christ”.
- Gary Indiana, “Bedeviled”, Village Voice

Rosemary is representative of the traditional and naive American society of the 50s and 60s – filled with idealism and hope. But that hope was sold, drugged and manipulated by a hidden cult (formed by prestigious and respectable members of society) to forcefully give birth to a new era. Shocking events left indelible marks on the public mind, including the mysterious deaths of JFK, Marilyn Monroe and Martin Luther King; horrific ritual murders perpetrated by MK-Ultra patsies like Charles Manson and Son of Sam caused fear and horror. These events slapped America out of its ideals and forced it to stare at an undefinable, yet tangible force influencing society. Conspiracies and cover-ups made the news and the masses gradually discovered the existence of a shadow government. Disillusionment and cynicism ensued, causing American society to accept or to ignore the true nature of its rulers. Society became the equivalent of Rosemary who has learned of the evil nature of her baby, but nonetheless accepted the responsibility of mothering it. Today’s debased pop-culture is simply the evolution of this system.
Even if one is to overlook the symbolic meaning of the movie itself, the synchronistic occurrences surrounding its production are simply astonishing. To look at the events surrounding Rosemary’s Baby is to stare right at the dark side of Hollywood. Here are some of the events:

Murder of Sharon Tate

Roman Polanski with his wife, Sharon Tate

Before settling on Mia Farrow, Roman Polanski originally envisioned his wife, Sharon Tate, as playing the role of Rosemary. She was not cast in the role, but did make an uncredited appearance in the movie, during a party scene. Fourteen months after the release of the movie, Tate (who was 8 months pregnant) was ritualistically killed by members of the Manson family. She was stabbed 16 times and her killers wrote the word “pig” in her blood on the wall of her house.
Charles Manson is described by Fritz Springmeier as “both a Monarch slave and a handler”. According to Springmeier, his programmers knew ahead of time what were going to be the next hits. He was basically used by the elite to carry out ritualistic murders.

“(…) the murders attributed to the Son of Sam, the Manson Family, and numerous other interconnected killings (including possibly the Zodiac murders) were not what they appeared to be.  While these killings appeared to be the random work of serial/mass murderers, they actually were contract hits carried out for specific purposes by an interlocking network of Satanic cults … In other words, these were professional hits orchestrated and disguised to look like the work of yet another ‘lone nut’ serial killer.”
- David McGowan, “There’s Something About Henry”

“The Manson murders sounded the death knell for hippies and all they symbolically represented,” Bugliosi told the Observer last week. “They closed an era. The 60s, the decade of love, ended on that night, on 9 August 1969″.-The Guardian, “Charles Manson follower ends her silence 40 years after night of slaughter”

According to numerous observers, Manson’s killings were programmed using Beatles songs (Manson himself claimed that the song Helter Skelter contained hidden messages intended for his family).

“Charles Manson was programmed with Beatles’ music. (…) They regularly call in slaves and hypnotically make the lyrics to be cues for the slaves before the music comes out. For instance, the lyrics of “Ain’t that a Shame” will make certain alters angry. For another slave the lyrics “Everything is relative, in its own way” reminds the person of the cult family & obedience.”
- Fritz Springmeier, The Illuminati Formula to Create an Undetectable Mind Control Slave

“The Manson killings were performed according to ancient ritual with hoodwinks and “cords of initiation” around the necks of the sacrifices. A line from a John Lennon Beatles’ song was painted on the death house, “Helter Skelter” which was located appropriately on Cielo (Spanish for “sky”) Drive (Sharon Tate and Roman Polanski’s house).
What we are witnessing in the wake of the public enactment of these alchemical psychodramas, whose spiritual consequences for mankind are far more momentous than most have thus far guessed, is a process of global occult initiation”.
- Michael, A. Hoffman, Secret Societies and Psychological Warfare

Speaking of which, the death of John Lennon is another strange piece of the puzzle.  The murder occurred as John was walking into the Dakota, the building where Rosemary’s Baby was filmed, and where he was living at the time. Mark David Chapman, the “lone nut” who killed Lennon is heavily suspected to be a Monarch mind-control slave.

Masses of people in front of the Dakota after Lennon’s death.

Chapman also had ties with high-profile handlers and the strange circle of occult celebrities.

“Lennon’s assassin, Mark David Chapman, met LaVey’s pal Kenneth Anger, an American disciple of Aleister Crowley, in Honolulu in the late 1970′s. In 1967 Anger had directed a film called Lucifer Rising, starring Manson follower Bobby Beausoleil. Another follower and Tate-killer, Susan Atkins, had appeared with LaVey in performances at a Los Angeles area strip club.”
- Ibid.

Why was Sharon Tate “chosen”? She was not Hollywood’s biggest star and she only enjoyed limited commercial success. Was it the inevitable outcome reserved to stars who go too far into the occult side of stardom? Three years before her death, Tate played the role of a witch in the movie Eye of the Devil. The movie’s conclusion: A blood sacrifice was required to “make things right again”.

Eye of the Devil, one of Tate’s last movies. Another case of a celebrity appearing in a symbolic movie before a strange death.

Did Roman Polanski sacrifice his wife (the same way Guy sacrificed Rosemary) to obtain the favors of Hollywood? Soon after the death, he allowed himself to be photographed by Life Magazine in the living room where Tate  had died. Her dried blood was still clearly visible on the floor in front of him. The photo shoot caused him to be heavily criticized.
Other events did not help his credibility. Seven years after Tate’s murder, Polanski was arrested and charged with a number of offenses against 13-year-old Samantha Geimer, including rape by use of drugs, perversion, sodomy, lewd and lascivious act upon a child under 14, and furnishing a controlled substance to a minor. According to Geimer’s testimony to the grand jury, Polanski had asked Geimer’s mother (a television actress and model) if he could photograph the girl as part of his work for the French edition of Vogue (we have already seen the rather sick inclinations of that magazine in the article entitled Disturbing Sex Kitten French Vogue Photoshoot Featuring Children). According to author Michael A. Hoffman, Polanski produced snuff films involving minors for sale on the private market, but these allegations remain unproven. Despite all of these accusations, Polanski remains a free man.
Are these events strange coincidences or all part of a big scheme? Is it somewhere in between? Whatever the case may be, they are symptomatic of a hidden force influencing American pop culture.

In Conclusion

Rosemary’s Baby can be seen as nothing more than a well-crafted movie that plays on the timeless and archetypal fear of “the Devil”. However, when one looks at the movie’s precise timing in American history and the incredible series of events that followed its release, the movie becomes a pivotal work symbolizing an important cultural shift in American life. The same way Rosemary discovers the workings of an international witch coven, American society “discovers” a darker side to its entertainment business and internal politics. Mind control slaves are unleashed in the public, shocking mega-rituals occur and pop culture becomes a celebration of depravity.
This era trail-blazed the way to today’s Illuminati agenda in popular culture. With the silent consent of the public’s indifference, today’s cultural industry is still hard at work, molding young minds for a “new eon”. The same mind control that was used to kill Sharon Tate and John Lennon has now become  a fun way to spice up a music video. The controversies of the past are still echoed today. Should we be surprised to see today’s latest Illuminati star Nicki Minaj “channelling” an alter persona called … Roman Zolanski?
That being said, it would be overly simplistic to blame “Satan” for all that happened. In fact, the puppeteers would love to see a scared and confused population blaming everything on a non-human scapegoat, releasing actual men and women from the accountability of their actions. Even LaVey’s Church of Satan is a Hollywood-style, theatrical comedy compared to the real actors on the world stage. Secret cabals, evolving at the higher echelons of society, are the true puppeteers here and they avoid media attention. By distorting and corrupting ancient esoteric teachings to fit their needs, the rulers have given themselves a loose moral code to justify their actions.  They have usurped “true science”, which was inspired by the laws of nature, to create a toxic by-product serving power and greed. The masses, deemed “profane” and unworthy of the Truth, are bewildered spectators at a sick puppet show, not even realizing they are watching puppets. For this reason, it is important to lift the curtain and see what is happening behind the scenes. Once we truly see the sick puppeteers pulling the strings, we will, hopefully, snap out of our hypnotic state and walk out of the show.

New Film Shows Diana “Very Much Alive” After Car Crash

By VC | May 14th, 2011 |

One of the first articles I’ve published on Vigilant Citizen was “Princess Diana’s Death and Memorial: The Occult Meaning” which describes the  events and the symbolism relating to the ritual sacrifice of Lady Di. While most people still buy the official “accident” story, evidence mounts that an accident was not the cause of Diana’s death, but was actually a set up leading to her murder.
A new film entitled Unlawful Killing (to be released everywhere except the UK) will apparently be showing a pictures of Diana right after the accident…still alive and not dying. Furthermore, the movie will show Diana predicting the circumstances of her death.The movie is backed by Mohamed al-Fayed, the father of Diana’s fiancé who also died that night.
Unlawful Killing will probably not dwell on the occult and ritualistic side of things. It remains, after all, a mass media production. When cover-ups are too sloppy and evidence begin piling disproving them, limited concessions are made to quell the public’s questions. This movie might be a limited concession, where part of the big ugly truth is revealed in order to protect the “bigger uglier truth”. We’ll see.
From the London Telegraph:

The film sets out to prove a cover-up by the “establishment” over the death of Princess Diana. It has caused outrage in sections of the British press and is not scheduled for a UK release.
Directed by actor Keith Allen and backed by Mohamed al-Fayed, father of Dodi, the film is being screened at the 2011 Cannes Film Festival on Friday.
Mr Allen describes his film as an “inquest into the inquest” of Princess Diana’s death. Of the controversial photo, Mr Allen wrote in the Daily Mail: “The photo is not used in the film for the purpose of shock.
“It is included as evidence, because it shows clearly that, although Diana had been injured in the crash, she was alert and very much alive. I repeat: it is not a picture of a dying woman.”

Director Keith Allan about his documentary in The Guardian

Unlawful Killing – the film the British won’t get to see
My documentary about the Diana inquest will be shown everywhere but the UK. Here’s why
The internet is a global lavatory wall, a Rabelaisian mixture of truth, lies, insanity and humour. I felt its power and madness this week, when an excerpt from my new film, Unlawful Killing, was leaked on to YouTube and seized on by US conspiracy theorists, who immediately began claiming that the CIA had murdered Princess Diana, thereby allowing others to dismiss my documentary as mad.
Deriding its critics as mad is an age-old British establishment trick. My “inquest of the inquest” film contains footage of Diana recalling how the royals wanted her consigned to a mental institution, and the inquest coroner repeatedly questioning the sanity of anyone who wondered if the crash was more than an accident. His chief target was Mohamed Al Fayed, a man I once profiled for a Channel 4 documentary. Before I met him, I’d half-believed the media caricature of him as a madman, driven nuts by the death of his son, and wildly accusing the Windsors of having planned the 1997 crash. However, I found a man who was sane and funny but frustrated that Britain wouldn’t hold an inquest into his son’s death. Michael Mansfield QC thought it unfair too, and fought for one to be held; which was why the longest inquest in British legal history eventually began in 2007.
Long before the inquest started, the eminently sane Mansfield had persuaded me that there were suspicious circumstances surrounding the crash, and signs of a cover-up by the authorities. Many journalists agreed, but as the inquest drew near, I noticed that British newspapers (several of which had regularly run “Was Diana Murdered?” pieces) suddenly fell into line, and started insisting that the inquest was a waste of time. They raised no protest when virtually all the key French witnesses refused to participate, nor did they find it odd that not one senior royal was ordered to appear, even though Diana had stated in a lawyer’s note that the Windsors were planning an “accident” to her car. Nor did they raise the issue of possible bias when legal proceedings involving the integrity of the royal family were to be heard in the royal courts of justice before a coroner who’d sworn an oath of allegiance to the Queen.
I felt the need to raise it, so I asked every major UK broadcaster (BBC, ITV, C4, Five, Sky) to commission a TV documentary about the inquest. But they refused even to contemplate such a suggestion, so Associated Rediffusion and I began filming and financing it ourselves. Shortly before the inquest began, Fayed offered to fund our project, so we could make a feature-length cinema documentary instead. We agreed, on condition that we would report events in the way we saw them, and the deal was struck.
Unlawful Killing is not about a conspiracy before the crash, but a provable conspiracy after the crash. A conspiracy organised not by a single scheming arch-fiend, but collectively by the British establishment – judges, lawyers, politicians, police chiefs, secret services, even newspaper editors – all of whom have been appointed to their positions because they are “a safe pair of hands”. Just as compass needles all point north without being told to, so these people instinctively know what is expected of them when the state’s interests are under threat and they act accordingly, quietly suppressing uncomfortable evidence or undermining the credibility of witnesses whose evidence contradicts the official narrative.
Consider just a fraction of what transpired. Over 100 significant witnesses were not called to the inquest, or refused to appear. Blood tests allegedly proving the drunkenness of the driver Henri Paul were deemed “biologically inexplicable” by a toxicologist. A British crash expert found that Diana’s seat belt had not been working. And so on.
Strangest of all was the media coverage of the verdict. Inquest evidence showed conclusively that the crash was caused by an unidentified white Fiat Uno and several unidentified motorcycles, vehicles that were certainly not paparazzi, because uncontested police evidence confirmed that the paparazzi were nowhere near the tunnel at the time of the crash. The jury understood this, bringing in a verdict of “unlawful killing” by unidentified “following vehicles”; yet within seconds, the BBC was misreporting that the jury had blamed the paparazzi, and the rest of the media meekly followed suit. Which is why – three years on – barely anyone realises what the jury’s troubling verdict really was.
Why is the film being premiered next week at Cannes, three years after the inquest ended? Because British lawyers insisted on 87 cuts before any UK release could be contemplated. So rather than butcher the film, or risk legal action, we’re showing it in France, then the US, and everywhere except the UK. Pity, because at a time when the mindless sugar rush of the royal wedding has been sending British Rrepublicans into a diabetic coma, it could act as a welcome antidote.

The Occult Symbolism of Movie “Metropolis” and its Importance in Pop Culture

Fritz Lang’s 1927 movie “Metropolis” is one of those timeless classics that withstand the test of time. Rather than becoming forgotten and obsolete, “Metropolis” is increasingly relevant as many of its predictions are becoming reality. We will look at the  underlying occult message of the film and the usage of its imagery in the acts of  pop stars such as Lady Gaga, Madonna, Beyonce, Kylie Minogue and others.

Metropolis is a silent science-fiction movie released in 1927 by Fritz Lang, a master of German Expressionism. Set in a futuristic dystopia divided into two distinct and separate classes—the thinkers and the workers—Metropolis describes the struggles between the two opposite entities. Knowing that it was produced in 1927, viewing this movie today is quite an experience as many “sci-fi” aspects of the plot are eerily close to reality. Metropolis describes a society where the “New World Order” has already taken been implemented and a select elite live in luxury while a dehumanized mass work and live in a highly monitored hell.
As we have seen in previous articles on The Vigilant Citizen, Metropolis is excessively echoed in popular culture, especially in the music business. Whether it be in music videos or photo shoots, pop stars are often portrayed as the character Maria, an android programmed to corrupt the morals of the workers and to incite a revolt, giving the elite an excuse to use violence repression. Are pop stars used by the elite in the same matter, to corrode the morals of the masses?

Movie Analysis

The Workers

The workers at shift change.

The movie opens by showing the workers and their city, situated deep below the earth’s surface. They are shown dressed alike, walking in sync, holding their heads down in submission, resignation and desperation. Throughout the movie, the human cattle is depicted as being physically and mentally exhausted, highly impressionable and, let’s say it, all-around dumb. Like a flock of sheep, the workers move in crowds, are very impressionable and can easily be deceived. This description of the masses corroborates those of Walter Lippmann, an American thinker who, five years earlier in Public Opinion, compared the general public to a “bewildered herd” that is not qualified to manage its own destiny. Joseph Goebbels, the head of propaganda of the Nazi regime, was also in accord with the movie’s conception of the general public. Hitler famously said “How fortunate for leaders that men do not think”.
The workers labor in a monstrous machine, a hellish industrial complex where they must accomplish repetitive and dehumanizing tasks. At one point, the machine is compared to Moloch, the ancient Semitic deity honored by human sacrifices.

In one of his visions, Fredersen sees the Machine turning into Moloch. The workers are fed to the beast as human sacrifices.

Moloch the God Baal, the Bull of the Sun, was widely worshipped in the ancient Near East and wherever Carthaginian culture extended. Baal Moloch was conceived under the form of a calf or an ox or depicted as a man with the head of a bull. The sacrifices went through the “belly of the beast”.

The tasks assumed by the workers are purely mechanical, needing absolutely no brain power, making them nothing more than an extension of the machine.

The workers accomplish repetitive, mind-numbing tasks, stripping them of their humanity

The Thinkers

The gleaming city of the Thinkers

If the workers live in a hellish underground dystopia, the thinkers conversely evolve in a gleaming utopia, a magnificent testimony of human achievement. This shiny city could not, however, be sustained without the existence of the Machine (Moloch) and its herds of workers. On the other hand, the Machine would not exist without the need to sustain a city. We find here a dualistic relation where two opposite entities exist in mutual dependence, a concept that has deep occult resonance.

In a thinly veiled reference to the hermetic axiom "As Above, So Below", the movie describes the mirroring yet opposite environments in which in the thinkers and the workers live in.

The hermetic Seal of Salomon visually depicts the concept of “As above, So below” while representing opposites energies mirroring each other to achieve perfect balance. Fritz Lang’s world perfectly recreates this concept.

Joh Fredersen, the Demi-God

The city was founded, built and is run by the autocratic Joh Fredersen. As the creator and only ruler of Metropolis, Fredersen is likened to the Gnostic demiurge, a demi-god who is creator and ruler of the material world.

Joh Federsen, plotting his next move. He is holding a compass, reminding viewers of his role as the “great architect” of Metropolis.

William Blake’s representation of the gnostic demiurge, creator and ruler of the imperfect lower plane, where sin and suffering prevails. The compass borrows from Masonic symbolism for God as the “Great Architect of the Universe”.

Joh’s son, named Freder, who, like all sons of managers, was enjoying a life of luxury, discovers the harsh reality of the workers of down under. Wanting to experience the worker’s reality first-hand, Freder descends to the lower level and trades places with a worker. Freder therefore becomes a Christ-like figure, a savior who descends from above. He also becomes enamoured with Maria, a saintly young women from the proletariat.

Maria

Maria, preaching to the workers.

Maria is a charismatic woman that is highly admired by her fellow workers. Understanding their suffering and despair, and knowing that a revolt is brewing, Maria preaches peace and patience, prophesying the coming of a “mediator”, who would become the “heart between the head (the thinkers) and the hand (the workers)
At one point, Maria tells the story of the tower of Babel, upon which would be written:

“Great is the world and its Creator! And great is Man!”

This statement has a deep resonance in Mystery Schools as it is taught that men have the potential to become gods through enlightenment. Throughout the ages, monuments and architecture were used to communicate the principles of the Mysteries and to celebrate the greatness of the human mind. Partially for those reasons, there are numerous links between Freemasonry and the Tower of Babel.

“As regards to Masonry, Babel of course represented a Masonic enterprise and early expositors reaped full benefit from the facts. They remembered that the people, who were of ‘one language and one speech’ journeyed from the East to the West, like those who have been tried and proved as Master Masons. When they reached an abiding place in the land Shinar, it is affirmed that they dwelt therein as Noachide, being the first characteristic name of Masons. It was here that they built their high tower of confusion. Out of evil comes good, however, and the confusion of tongues gave rise to ‘the ancient practice of Masons conversing without the use of speech.’”
-Arthur Edward Waite, A New Encyclopedia of Freemasonry and of Cognate Instituted Mysteries: Their Rites, Literature and History, Volume I

“In several early Masonic manuscripts – for example, the Harleian, Sloane, Lansdowne, and Edinburgh-Kilwinning – it is stated that the craft of initiated builders existed before the Deluge, and that its members were employed in the building of the Tower of Babel.”
- Manly P. Hall, The Secret Teachings of All Ages

“… at the making of the Tower of Babel there was Masonry first much esteemed of, and Nimrod was a Mason himself and loved well Masons.”
- John T Lawrence, The Perfect Ashlar

However, says Maria, “one man’s hymns of praise became the other man’s curse”. In other words, the monument praising the greatness of the human spirit was built with the blood and sweat of workers who knew nothing of the Thinker’s grand vision. And, in the film, the same thing is happening all over again. The name of the demi-god Joh Fredersen’s headquarters? Of course … The New Tower of Babel.

Joh Ferdersen’s headquarters named the New Tower of Babel.

Rotwang

Rotwang with his trademark mechanical right hand, which replaces the one he lost during one of his experiments. Is this a symbol signifying that the inventor embraces the “left-handed path”?

Upon learning that the workers are planning an uprising, Joh Federsen seeks the advice of Rotwang, an inventor and mad scientist. Although his work utilizes the latest of technologies, many clues within the movie indicate that he also taps into ancient occult knowledge to create his inventions. He is said to live in “a small house overlooked by the centuries,” symbolically meaning that the scientist’s arcana descended from ancient occult traditions; the basement of his house has a secret trap door leading to 2,000 year-old catacombs, further alluding to the ancient and mysterious sources of Rotwang. Furthermore, the front door of his house bears a pentagram, which refers to the Pythagoreans, occultism and Freemasonry.

A pentagram on Rotwang’s door. Disciples of Pythagoras affixed a pentagram on their door as a secret sign of mutual recognition. The sign and its meaning could remain secret despite that public display because only those initiated into the mysteries of Pythagoras’ geometry were able to draw it correctly and to appreciate its deep significance as a symbol for and gateway to those mysteries.

If we were to do real-life comparisons, Rotwang is to Joh Fredersen what John Dee was to Queen Elizabeth I: an esteemed advisor immersed in the worlds of science, magic, astrology and Hermetic philosophy. If Fredersen represents our world’s rulers, Rotwang is the occult pendant of decision-making, the mystical entity that is hidden from the public but always historically present.
The inventor proudly presents to Fredersen his latest invention, the Machine-Man, which he considers to be the “Man of the Future”. The android has the faculty of taking the form of any person and, says Rotwang, “no one will be able to tell a Machine Man from a mortal!”. The transhumanist dream was already present back in the early 1920s.
Fredersen then tells Rotwang to give the Machine-Man the likeness of Maria in order to use her credibility and charisma to spread corruption among the workers.

Maria laying down while Rotwang gives her likeness to the android. Notice the inverted pentagram right above the Machine-Man’s head. If the upright pentagram represents healing, mathematical perfection and the five elements, the inverted pentagram stands for the corruption of those principles and black magic.

So what do today’s pop stars have in common with this android, programmed by the rulers, with a mix of science and occultism? Well … everything.

Beyonce

Kylie Minogue

Lady Gaga in Paparazzi video

Lady Gaga in Dave Lachapelle photo shoot that is heavily inspired by Metropolis.

Freddie Mercury from Queen with his face instead of Maria’s in Radio Gaga. Lady Gaga’s name was inspired by this song and video, which contains a lot of footage from Metropolis.

Janelle Monae

Metropolis themes are also very prevalent in fashion

Back to the movie. The android completed, Rotwang tells it:

“I want you to visit those in the depths, in order to destroy the work of the woman in whose image you were created!”

Robot-maria responds:

One eye closed with devilish grin. You probably know the importance of the single eye from previous articles and the ridiculous amount of pop artists who flash it.

The Maria android is then sent to Yoshiwara, a man’s club, where she performs erotic dances. In one of her acts, she is portrayed as Babylon, the Great Harlot from the Apocalypse.

Playing the role of the Great Harlot Babylon of the Book of Revelation. “And the woman was arrayed in purple and scarlet colour, having a golden cup in her hand”. She is held up by the seven deadly sins.

Do this scene remind you of a classic music video?

Madonna – Material Girl. How many realized that she was playing the role of Babylon here?

The programmed Maria performs mesmerizing dances in front of an avid public, causing men to fight, to lust, to be jealous and to commit the rest of the deadly sins. When she’s with her fellow workers,  Maria acts as an “agent-provocateur”, inciting the working men to riot and giving Joh Fredersen reason to use force against them. She is basically acting against the best interest of the public and for the interest of the elite.
With the help of their foreman (because they can’t really think for themselves), the workers ultimately realize that they have been mislead by the android. Believing that she’s a witch, they find robot-Maria and burn her at the stake.
A bunch of things happen after that, but I won’t spoil the ending for you (though can you really be mad at someone for spoiling the ending of a 83-year old movie?). The movie finishes with this caption:

This “moral of the story” is basically a message to the elite, a tip to keep the masses in check: in order to keep the oppressed content, you must capture their heart. That is what the media accomplish.

Which is kind of reminiscent of this music video ending:

Madonna’s Express Yourself video heavily borrowed its imagery from Metropolis. In turn, Christina Aguilera’s Not Myself Tonight, heavily borrowed from Express Yourself.

The Moral of the Story

The moral of the story of Metropolis is not “let’s abolish all inequities and rebuild a world where everyone is equal” and it is certainly not “let’s be democratic and vote for who we want as a ruler.” It is more “let’s send the workers back to the depths where they belong, but with the addition of a mediator, who will be the link between the workers and the thinkers”. So, when all is said and done, the movie is intrinsically “elitist,” as it still calls for the existence of an elite group of people holding most of the resources and managing a working class. In the end, the workers – and Freder – were duped, believing that their conditions would change. In fact, the status-quo remained and Joh even got his naive son to give the elite a friendly image while reporting everything happening in the depths, resulting in tighter surveillance and control.
Who is the Freder of today’s working class? The media. Media is the mediator. That is its function.

Fredersen, the link between “the hand and the head”, the Workers and the Thinkers. This role is played today by the media.

Mass media manipulate the masses’ thoughts and feelings on a daily basis, tricking them into loving their oppression. Popular culture is the entertainment branch of mass media and pop music is the fun way to communicate the elite’s message to the youth. References to Metropolis in pop music are almost winks to those in the know, the initiates, as if to say “this star is working for us”. So go ahead and be an ignorant, degenerate and materialistic person, like in the videos … that’s what they want you to be.

Analogies Between Metropolis and Today’s Pop Culture

But why Metropolis? Why has it become the code for “Illuminati star”? If you’ve read other articles on this site, you’ve probably realized that the movie touches upon all of the themes of today’s “Illuminati agenda”: transhumanism, mind control, dark occultism, degradation of morals, police state, all-seeing government. Metropolis is basically a blueprint for population control. Like Maria, today’s pop stars are recruited from the working class and literally programmed and reinvented to become the hidden ruler’s spokespersons. Notice how many pop stars have wild alter-egos, with a different name and personality. Part of the stars’ role is to promote the elite’s agenda through music and videos, making it sexy and attractive.

In Conclusion

Metropolis is a definitely a movie “by the elite, for the elite”. It tackles the concerns of those managing the world and presents a solution that does not disturb the status-quo. The movie is also permeated with Masonic symbolism and contains many symbols referring to ancient Mysteries which were meant to be decoded by proper initiates. In other words, the movie was primarily aimed at the ruling class.
So why do singers love it so much? Well they probably don’t love it as much as those behinds the scenes, the directors and image-makers, those who have power in the music business. They decide what the stars do and stand for. And today’s popular culture is elitist, permeated with Illuminati symbolism and promotes moral degradation and the debasement of traditional values. Our pop stars channel Maria, the programmed android, through their acts and accomplish the same functions. Why else would they dress like her? If artists always embodied absolute freedom and creativity, why do singers play the role of a mind-controlled android? Because that’s what they are.
Metropolis is indeed a great movie. So great that it is only becoming relevant 80 years after its release. But if the elite have it their way, it will be even more relevant in the years to come.

Lady Gaga’s “Born This Way” – The Illuminati Manifesto

By VC | March 7th, 2011 | Category: Music Business

Lady Gaga’s single “Born This Way” introduces the viewers to the birth of a “new race” and to a new world, using intricate imagery and a precise narrative. It is a psychedelic trip filled with occult and archetypal symbols, telling the story of a cosmic birth and new ideals. However, behind its outward message of acceptance, a more sinister message lies embedded in the symbolism of the video. We will look at the underlying meaning of “Born This Way” and analyze the meaning of the occult symbolism in the video.

Lady Gaga is back, y’all.  And she’s got horns on her forehead. And she’s in space. And she’s making 90′s dance music. And my head just exploded. But seriously, Born this Way seems to provoke in people two opposite reactions, depending on their knowledge of occult symbolism. It is either “What the heck just happened here?” or “This is really blatant”.  The reason is simple. The video contains new strange elements that might confuse viewers but it also contains symbolism that is extremely ancient. Although the video is set in a futuristic, intergalactic world, it deals with the most primal concept of humanity: motherhood. It plays on human’s archetypal fascination and/or repulsion towards the act of giving birth.
Although the lyrics of Born This Way are about unconditional acceptance, with a special focus on homosexuality, the video’s scope goes way beyond the subject of sexual orientation. It narrates the birth of a new race within humanity. Laurieann Gibson, the creative director of the video describes this concept:

“At first, when I thought about birthing a new race and adding the prosthetics, I thought that maybe they should have a certain way they should walk or maybe they move a certain way, but then I realized it is actually a race within our race; it’s a mindset.”
- Source

Gaga is not giving birth to a human but to a “new race” within humanity. The symbolism of the video makes it clear that this birth is not natural, but artificially provoked. A twisted immaculate conception. As is the case for most Lady Gaga videos, the theme of mind control is important in the video. It is the process through which the metamorphosis will take place.  In Monarch programming terms, we are witnessing the birth of a new persona within the “core personality” of humanity. The birth is happening within the minds of people and is visually represented by creepy facial horns.
(If you have not read previous articles on this site, mind control programming is the process through which a handler causes within a subject the “birth” of a new persona that can be programmed at will, through trauma and abuse. It is an actual process used by the CIA – MK-Ultra – and symbolism pertaining to this practice is widely present  in popular culture. In the context of the video, the programming does not happen on a single person, but on a mass scale – a new race).
Furthermore, the esoteric imagery in the video describes a world change that is occurring as an alchemical process: The creation of magic through the unification of opposing forces portrayed through the use of archetypal symbols and messages. Yup, we’re still talking about a Lady Gaga video.

The Director

Although Born This Way is considered new and innovative, it is a perfect continuation of the themes exploited by previous Lady Gaga videos. Nick Knight, the director of the video, brings a different look and feel to Gaga’s message, but it remains very “elite friendly”. The fashion photographer is known for his visually dazzling photos and has worked with Alexander McQueen, Calvin Klein, Christian Dior, Kylie Minogue, Gwen Stefani and many others. His past work has also contained allusions to Monarch mind control.

One of director Nick Knight’s most famous images for Alexander McQueen. The scar on the mannequin’s forehead implies “playing with her head”. The blank stare and the missing eye (symbolic of Illuminati control) further accentuate the theme of mind control in this image.

Knight’s distinctive style in Born This Way was inspired by surrealist painters such as Salvador Dali and Francis Bacon. Let’s look at the video’s symbolism.

The Immaculate Conception

The video begins with the superposition of two evocative symbols:

A unicorn inside an inverted pink triangle.

Pink triangles pointing downwards were used in Nazi concentration camps to denote homosexual men. The same pink triangle pointing upwards has become a symbol of gay pride and gay rights. On an esoteric level, triangles pointing down are archetypal symbols  representing the sacred feminine (in opposition to the upwards pointing triangle representing the phallic masculine). The inverted triangle is emblematic of the womb, the vessel and the uterus. It is the passive principle awaiting the active principle.
Inside the triangle is a unicorn, an ancient mythological creature emblematic of purity, spiritual enlightenment and fierceness – the horn is often viewed as symbolic of the union of with God. In esoteric terms it refers to the third eye or the pineal gland.
In Christian symbolism, the Unicorn is a symbol of Christ. It is also often associated with the Virgin Mary.

“Symbolically, the unicorn is a representation of Jesus, the horn represents the unity of Jesus and God, its fierceness and defiance were said to be a reminder that nothing can control Jesus against his will, and the small size of the animal represented Jesus’ humility.”
- Heather Changeri, The Virgin and the Unicorn

The link between the unicorn and the concept of virginity was popularized by a medieval myth describing how to hunt the creature. In order to catch a unicorn, a virgin is put in the field; the animal then comes to her and is caught, because it lies down in her lap.

Virgin and Unicorn by Domenichino (1602), a tale which has probably been inspired by Christian symbolism (or the other way around). According to Honorius of Autun in his Speculum de Mysteriis Ecclesiae: “Christ is represented by this animal, and his invincible strength by its horn. He, who lay down in the womb of the Virgin, has been caught by the hunters; that is to say, he was found in human shape by those who loved him”.

This unicorn is inside a womb symbolically represented by the inverted triangle and therefore symbolically awaiting birth. The concept of purity associated with unicorn implies an “immaculate conception” as no sexual relation was needed to provoke this cosmic pregnancy (yes, I just said “cosmic pregnancy”). Gaga herself referred to this song in similar terms.

“I wrote ['Born This Way'] in 10 f—ing minutes. And it is a completely magical message song. And after I wrote it, the gates just opened, and the songs kept coming. It was like an immaculate conception.”
- Lady Gaga, Our Lady of Pop, Vogue Magazine

According to Carl Jung, whether we look at the religious or occult meaning of the unicorn, it ends up portraying the same concept: the union of seemingly opposite forces (i.e. purity and strength).

“The unicorn’s most vital function has been as a symbol, whether of power or virility, or purity, or the combination of opposites, of the male horn and the female body. Many modern interpreters regard this last role as the crucial one and relate it to the symbolism of the soul as the spark of divine light in the darkness of matter and evil, the body, and to the concept of the hermaphrodite as the perfect union of opposites.”
- Carl Jung, Man, Myth and Magic

That’s a lot of text to explain a single frame of the video. It is, however, an important frame because it sums up the entire concept of the video in a single image: the birth of a spiritual/galactic/metaphorical entity from an immaculate conception.
But what exactly is being born?In her narrative, Gaga says it is a new race, but the video, and the video’s director, suggests that it is a race born within the existing race, from people’s own minds. In the video, a symbolic image replaces the unicorn.

Mask at the back of Gaga’s head

Gaga has two faces, not unlike Janus, the god of gateways and beginnings. In mind-control terms, the mask implies the existence of a programmed alter-personality. Porcelain masks are used in the actual (and horrific) Monarch programming process on slaves and handlers (in the video, Gaga seems to embody both roles).

“Fire torture and melted wax is used to make the child victim believe their face has been burned. Then the programmer generously gives the traumatized alters a porcelain mask. The alter getting the Porcelain face may be given a “gem” hypnotically like Jade and that becomes their secret name. There are several different methods that are available to lay in the porcelain face programming. There has been a great deal of porcelain casts made of people’s faces and then masks made of them. In fact, when a handler dies, at least in one case the replacement handler wore a mask to look like the previous handler.”
- Fritz Springmeier, The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave

The mask inside the triangle implies the birth of a synthetic being, a human construct: a pre-established mindset for humanity. After this, Gaga begins her “Manifesto of Mother Monster”, describing the mindset.

Manifesto of Mother Monster and Birth

Gaga announces the birth of a new race in a speech with heavy occult undertones that contains references to ancient hermetic principles.

“This is the manifesto of Mother Monster: On G.O.A.T., a Government -Owned Alien Territory in space, a birth of magnificent and magical proportions took place.”

The magical birth took place on a “Government-Owned Alien Territory” – which is alluding to the fact that the birth is taking place under the supervision and approval of the powers that be: the elite, the Illuminati. It is also a great way to form the acronym G.O.A.T. and a great way to bring up Baphomet.

As Gaga says “GOAT”, a star formation shaped as a goat head is shown, an allusion to the Goat of Mendez and/or Baphomet. It is also shaped like a uterus. The movie Pan’s Labyrinth also draws a link between the faun’s horned head and the shape of the uterus – a symbolic gateway to another realm.

Gaga, playing the role of the Virgin about to give birth is symbolically shown inside the goat head, which emphasizes the occult and ritualistic nature of the birth taking place. Baphomet, represented by a goat’s head, is symbolic of magic created by the union of opposite forces, hence its androgyny (see the erect phallic symbol and the female breasts).

The goat-headed Baphomet, as depicted by Eliphas Levi. Baphomet’s androgyny and its “As Above, So Below” hand gesture illustrate the all-important concept of union of opposite forces and are all visually represented in Born This Way.

Baphomet is of great importance in Aleister Crowley’s Thelema – a modern occult philosophy that seems to be a source of inspiration for Gaga’s Manifesto. According to Crowley, Baphomet is a representative of the spiritual nature of the spermatozoa, while also being symbolic of the “magical child” produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon, combined and biologically manifested with the sperm and egg united in the zygote.

“He is ‘The Devil’ of the Book of Thoth, and His emblem is Baphomet the Androgyne who is the hieroglyph of arcane perfection … He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty.”
- Aleister Crowley, Magick Book 4

Concepts similar to those expressed by Crowley are incorporated to the Manifesto:

“But the birth was not finite. It was infinite. As the wombs numbered and the mitosis of the future began, it was perceived that this infamous moment in life is not temporal, it is eternal. And thus began the beginning of the new race, a race within the race of humanity, a race which bears  no prejudice, no judgment, but boundless freedom.”

Is the “mitosis of the future” equivalent to Crowley’s “new eon”? The emphasis on the term “liberty” and “freedom” might be a reference to Crowley’s “Do What Thou Wilt” ethos, a concept calling for the seeking of one’s “True Will” without regard for the boundaries of ethics, moral principles or the concept of good and evil. The embrace of both good and evil is further portrayed in the video.
As Gaga says these words, she is shown giving birth to … something. As this something gets pushed out, butterflies appear.

Butterflies emerging from Gaga’s womb.

Butterflies (especially Monarch butterflies) are symbolic of Monarch programming. Mind-control slaves who successfully create an alter-persona are compared to butterflies emerging from their cocoon. This implies that Gaga’s “new race” or “new philosophy” is not something that occurs naturally in society. It is rather something that will be forced on humanity using mind-control techniques.

Soulless, Gaga-clone newborns and a bunch of butterflies flying around them.

The creation of this “beautiful” race leads to the birth of an evil entity, which seemingly exists to protect its interests and force its will upon the world.

But on that same day, as the eternal mother hovered in the mulitverse, another more terrifying birth took place: the birth of evil. And as she herself split into two, rotating in agony between two ultimate forces, the pendulum of choice began its dance. It seems easy,  you imagine, to gravitate instantly and unwaveringly towards good. But she wondered, how can I protect something so perfect without evil?

As those words are being said, the camera slides upwards towards Gaga, forming a semi-hidden skull head made of human bodies, symbols of sacrifice representing the evil that resulted from birthing the “pure” creation. This concept is illustrated by the symbol of ying and yang and the Masonic checkered floor, where black and white coexist in an infinite pattern.

Semi-hidden human skull above a pyramidal structure made of red human bodies.

The evil force is represented by human skulls, which symbolically represent the elite’s death-culture, which celebrates sacrifices in order to generate “new life”. To illustrate the “political and governmental” aspect of this concept Gaga is shown firing a military rifle while church bells ring (announcing death of the masses).

Gaga firing a rifle, a celebration of depopulation and human sacrifices. She waves her blond hair as she is shooting, a continuation of the Agenda to make government oppression and violence  ”sexy”.

Evil is therefore depicted as a necessary force to balance the existence of good (or what is portrayed as good in the video, as mind control is never “good”).
Thought this song was about gay pride? Apparently not. Oh, and then the song starts.

Him or H-I-M

The song starts with an odd statement:

“It doesn’t matter if you love him, or capital H-I-M”

Who is “Him” and, more importantly who is capital H-I-M? At first glance, “Him” can be interpreted as a masculine lover, in accordance with the “gay pride” aspect of the song. In that case, who or what is “capital H-I-M”? Is it God? In that is she referring to the distance between homosexuality and traditional religions? HIM is also the name of a popular Finnish rock band whose acronym stands for “His Infernal Majesty”.  In this context, is Gaga saying “It doesn’t matter if you love him (God), or capital H-I-M (Satan)”? If that is the case, it would certainly fit with the dualistic, good versus evil, message of the video and the Thelemic theme of her manifesto.
Further in the song, another line states:

“A different lover is not a sin
Believe capital H-I-M (hey, hey, hey)”

In this spiritual context, is the “regular lover” God and the “different lover” His Infernal Majesty?
Dualism continues to be visually represented throughout the video with scenes celebrating life and love juxtaposed with scenes of celebrating death.

Lots of ewey-gooey love

Brain-dead zombies – the fate of who do not become part of the new “horned” race.

The rest of the video is a lot less symbol-intensive, as the focus shifts on choreography and female crotch-grabbing. No Gaga video (or any music business pawn’s video for that matter) is complete without the One-Eye Sign.

The Illuminati approves of this Mother Monster Manifesto.

The video ends with a symbolic image, one to be expected when understanding the dualistic theme portrayed throughout the video.

Zombie Gaga inside an upright pink triangle

The last frame of the video is the opposite of the first, as the pink triangle is pointing upwards. This alludes to the appropriation of this Nazi symbol by the gay rights movement and its reversal.
On an esoteric level, the upright triangle is the response to the inverted triangle and signals the end of the alchemical process. It represents the union of the opposites, in order to accomplish the Great Work: the occult transformation of men. When combined, the upright and the inverted triangle become a six-pointed star, a symbol known as the Philospher’s Stone or the Seal of Solomon.

The Hermetic Seal of Solomon composed with two interlaced triangles pointing in opposite directions.

“The interlacing triangles or deltas symbolize the union of the two principles or forces, the active and passive, male and female, pervading the universe … The two triangles, one white and the other black, interlacing, typify the mingling of apparent opposites in nature, darkness and light, error and truth, ignorance and wisdom, evil and good, throughout human life.”
- Albert G. Mackey, Encyclopedia of Freemasonry

If the video started with the unicorn inside the inverted triangle, symbolizing the impending birth of a pure spiritual being, the video ends with the opposite energy, death and corruption. Zombie-gaga, the evil by-product of the change imposed by G.O.A.T. In order for magic to happen, both of these triangles are necessary and they need to be united.

Meaning of the Video

The song by itself has an uplifting message: to love and accept oneself unconditionally, the way God made us. However (there’s always a “however” with Gaga), the video takes things to another level … literally. The “Manifesto of Mother Monster” and its related symbolism give the song a cosmic-battle-between-good-and-evil quality, interlaced with the heralding of a new race and, to use Crowley’s terminology, a new eon.
In the context of the video, Born This Way is actually a tail of REbirth and of transformation. As Gaga’s choreographer stated, it is a race within our race; it’s a mindset. This change of mindset is not portrayed as the result of a natural evolution, but rather as a forced change symbolized by the Monarch programming imagery.  All of this is happening in the Government-Owned-Alien-Territory, a clever way of stating that this new race is something that the occult elite wants to see happening. In the video, Gaga (and hundreds of clones) are created in a high-tech, government-owned lab. Are we truly preaching no prejudice, no judgment, but boundless freedom? The Manifesto’s ideals therefore only apply to the new, forcefully created race, which is distinguishable from “normal” people by the horn thingies. Is this a sign of superiority? Are the horns any different than the pink triangle used to distinguish gays during the Nazi regime?
Those who do not adhere to this mind-controlled race will apparently feel the wrath of “evil Gaga” and be killed because, as she says, How can I protect something so perfect without evil? The video contradicts and twists the liberating meaning of the song and turns it into something rather oppressive and disturbing. The “new race” is the masses of the New World Order, under the influence of mass mind control and pushed into a precise kind of spirituality, resembling a dumbed-down version of Crowley’s Thelema. This world metamorphosis is perceived by the occult elite as an alchemical transformation, a Great Work. It is visually represented by the opposing forces illustrated throughout the video. The process is meant to create something “pure and perfect”, a new world that is purged from its non-desired elements (portraying a New World Order as the end result of an alchemical process is often referred to in elitist art  – see the article Analysis of the Occult Symbols Found on the Bank of America Murals). From the viewpoint of the masses, who must go through this forced rebirth, the process is ugly, terrifying and pure evil.  The video however, – as most offerings of pop culture – portrays the view of the elite.

In Conclusion

In order to keep the youth interested and attracted to the elite’s agenda, creators of pop videos cleverly combines fresh visuals with mind-numbing repetition. Each new video attempts to bring an exciting or shocking element to generate some interest but, at the end of the line, the core message remains stubbornly on-par with the Illuminati Agenda. Born This way uses the classic technique of duplicity, which can be defined as “contradictory doubleness of thought, speech, or action; especially, the concealment of one’s true intentions by deceptive words or actions”. The song’s lyrics say one thing, but the powerful symbols within the video go in the opposite direction. This leads to a contradiction our minds attempt to resolve: Is “boundless freedom” equivalent to the coercive new world portrayed by Gaga?
Despite the superficial eccentricity of the song, Born This Way is about conforming and adhering to a pre-defined mindset, a philosophy that is compatible with a New World Order. It is not Gaga’s vision, it is their vision. It is the mind state they want you to adopt in order for them to carry on with their Agenda unopposed. This is what they want you to think: There are no important values or moral codes; good and evil are a big blur and being a mindless zombie is cool. If you think this way, “you’re on the right track baby”. I’m not. Guess I wasn’t born that way.