THE LAST HUMAN VITALS OF “POP” music can be heard beating from the canopic jars of the Y2K triple zeros. The future impact of the 9/11/2001 timeline-scheme blew apart the seemingly smooth evolution of the “Millennial” generation. This 911 orchestra was a call to the grim reaper for whom the bell tolls of the 90’s childhood dreamscape: the cartoon animated, synth-pop saturated existence on the verge of getting the internet on and in line. Eventually, the positive elements and messages embedded within music engineered popular for preteens and teens in the late 90s receded from ear, making way for an increasingly darkening shadow of entertainment. Once upon a time just before 999 turned to 000 Pop sounded like innocent good fun with the likes of Britney Spears (hit me “…Baby One More Time” because “(You Drive Me) Crazy” and yet I was “Born to Make You Happy”), Christina Aguilera (isn’t it “Obvious” that “What a Girl Wants” is to be a “Genie in a Bottle”), Destiny’s Child (“Tell Me” “No, No, No” as I am “Killing Time”), *NSYNC (“I Need Love” “For the Girl Who Has Everything” and is “Tearing Up My Heart” ), and Backstreet Boys (“We’ve Got It Going On” “Set Adrift on Memory Bliss” so “I’ll Never Break Your Heart”). These songs allegedly promoted decent human tendencies such as desire for love, emotional hurt from love, loyalty in love, patience in love, and assertiveness in love. However, looking 2 decades back from the present moment, it becomes uncomfortably clear that this capitalism on young love was branded as part of a schematic furthering an agenda of not well-wishers waving their wands from the warp and woof of the entertainment industry. Through the rise to epic stardom, Pop music has fallen down deeper into the insidious eclipsing Dark Side of The Emperor (I wish I was talking In The Nightside Eclipse, but I’m not). At the edge of the century can be found the t(r)ipping points over which many singled-out icons like Britney Spears, Christina Aguilera, Beyonce Knowles, and (to throw in a male for political correctness) Justin Timberlake, fell. But, whatever befell Backstreet Boys? I guess they didn’t make a comeback, getting left in the backstreets. And yet, Madonna (named after the Virgin Mary, of course) is still making (horrific) hits under the assertion that “Bitch I’m Madonna”.
While Destiny’s Child was fulfilled in 2004 (and unfortunately I don’t think the Backstreet Boys are coming back) we still have Britney, Christina, Beyonce, and Justin in 2018. In addition to these pre-9/11 acts, a plethora of post-9/11 stars have been thrown up into the galaxy of American Pop, shining most brightly as female divas such as Lady Gaga, Katy Perry, and Taylor Swift. Oh, yeah, for the more mature listeners, there’s always Lana Del Rey. She recently got some really great work done on the bridge of her nose:
Her new infrastructure sort of reminds me of something I’ve seen somewhere else also from 2015….Maybe….its this guy’s nose bridge:
NOSE FLASH!!!
FAKE NOSE ALERT!!!
NOTE the NOSE BRIDGES:
Cathartes aura (aka Turkey vulture) not only has an enlarged nasal cavity which magnifies its sense of smell (which it uses to locate the dead things which they consume), but it turns out the olfactory bulb in its brain is also significantly huge (earthtouchnews.com). So they’ve got a significant nose-brain connection (they think extensively with their nose). As for humans: what’s the next logical step after rhinoplasty? Olfactory bulb enlargement! (Could this double as a sexual fetish?)
Other than potentially granting supernatural smelling abilities which both the turkey vulture and theoretically another carrion eater, the zombie, have, I came to the conclusion that perhaps Lana’s nose work has to do with making it easier to have the inverted pentagram marked on the area of the third eye.
However, now that I’ve let loose the pentagram beast out of the snuff box, It’s necessary to clarify exactly what the pentagram is. Because–not unlike so many Pop stars–it is often horribly misunderstood.
Gnosticwarrior.com has some in-depth insight on the nature of the pentagram, which can be positioned upright (as a star) or inverted (as illustrated on Lana’s forehead):
The pentagram is a five-pointed star that is a symbol of man with his five limbs and five sensory organs. It also represents PHI or the Golden Rule of the Universal Law in which all nature and humans must live by to evolve. The pentagram is also used in both white and black magic to invoke light energy (angels and saints) or dark energy (devils and demons). Think of it as a symbol in the occult (hidden) world that represents both, an enter and an exit door for the spirit and astral world in which we cannot normally see with our own two eyes.
Though there are many ways in which the inverted pentagram can be interpreted and used, it is fundamentally a distinct perversion of the upright pentagram which represents rising above one’s lower, base nature (think evolution!). The inverted pentagram “represents that the animal body has power over the soul or the spiritual body” (think de-evolution!). It is the mark of black magic (the Left Hand Path), which is the path of going over to the Dark Side (think Star Wars!). Marking the third eye with the inverted pentagram would signify an inner vision subverted to feed the lower (dead) aspects of human awareness and existence. When looking at the (de)evolution of Pop–which clearly promotes body over spirit, consumption over creation, animal sense over logical sense, base sexuality over spiritual union–the symbol of the inverted pentagram seems to hit the mark. (As a side note: this does not explain why the word pagan is in propaganda).
However popular Lana is in music today, she’s not particularly relevant to me, as I have never pleasurably listened to her songs. So to bring it back to my era of Y2K with classic Britney, Princess of Pop:
But wait….didn’t another Britney emerge between 2000 and 2016? Oh yeah, “Bald Britney”. As much as we would all like to forget her, we really shouldn’t block out this identity from our memories:
Following the infamous head-shaving incident, Britney checked herself into rehab for a second time in February 2007. Days later out of rehab she attacked a paparazzi car with an umbrella. It was confirmed she was on various substances, which culminated in a non-fatal overdose of prescription pills in 2008 (source). But as to how and why she started using hard drugs, alcohol, and prescription medication is a whole other basket case. Ultimately, events and circumstances like the tragic episodes surrounding the Princess of Pop are simply not random–they do not happen out of thin or thick air or without cause. I also believe that they are not–as is promoted as an explanation by the media–caused by the broad pressures of fame, money, career etc. After all, there’s a lot more behind the making of Britney’s music than just Britney.
Of course all of this is easy to dismiss if you don’t like Britney’s music anyway. Why should anyone but Britney fans care that she breaks the usual program now and then, shaves her head (it’s hers after all!), and jacks up a paparazzi’s car? Whoops, it turns out she’s not the only one…
We had Britney smashing real cars in 2006–and in 2016 we had Beyonce of Destiny’s Child legacy smashing real cars too in her video “Hold up“. But apparently in the latter, this passionate action is an expression of women’s liberation! When Britney smashed a car it was because she went “crazy” (is this a literal manifestation of “(You Drive Me) Crazy”?), but–hold up!–when Beyonce does it she’s lauded as goddess incarnate, her album “Lemonade” being promoted as some conglomerate masterwork of grown-ass-feminist-black-woman-magic (but is it really? This article has further insight on that). But it all ends up being OK, because Britney made a comeback that same year with her album Glory (2016), and in 2017 put together her “Piece of Me” tour, which will be happening again this year.
Wanna piece of me? Pictured left is Britney performing in her show “Piece of Me”in Las Vegas on 1-11-2017. Because apparently, as demonstrated in her segmented outfit, she’s broken up into pieces? However uncanny the comparisons may be, these juxtapositions are not to blame Britney, because, let’s get real: no one in their right mind would intentionally dress or act like that. No one in their right mind jacks up cars. No one in their right mind would promote any of these things. So WHO or WHAT is creating and promoting this? When trying to piece together this obvious segmentation of Pop entertainment, the most logical explanation is that these Pop stars are not in their right minds, on or off stage. And although Ariel from The Little Mermaid “sold” her voice to the black magician Ursula in order to seek her true love, I don’t believe this is the case for Brit, Bey, Christina, Katy, or Gaga, et al. Not that Katy or Gaga had a great singing voice to begin with, but that no longer matters with the technologies of auto-tune and plastic surgery.
As for the mental health of these top-of-the-pops female Pop stars, a little objective psychoanalysis of interviews featuring Katy Perry and Lady Gaga bursting into tears can perhaps tear open the veil which hides the “real” Katy and Gaga (this aint no Nicki Minaj crying tears of liquid metal, as I alluded to in my article on Surrealism here). Though at first watch these girls appear to be revealing their vulnerable (i.e. real human) self to the public, their emotional reactivity emerges as a symptom of a deeper traumatized state which is triggered into activation and captured on camera. A glamorous diva experiencing a real mini mental breakdown on screen induces a state of empathy in the viewer. Though this may seem (or even feel) like a good thing, it is actually sympathy for the devil, because the tortured state of these Pop stars, I perceive, has been inflicted upon them by other forces. What you are witnessing is the off-stage tortured nature of a circus animal, who later happily appears on-stage performing the most incredible fantastic tricks for everyone to enjoy. We all know now that Tilikum wasn’t happy with his job, and for good reason.
Katy Perry is the featured star of episode 7 season 1 of “The Therapist”, a “reality” T.V. show masquerading as psychotherapy sessions conducted by a licensed psychotherapist on famous musicians, recording artists, and pop stars “to discover what lies beneath their public personas” (imdb.com) (i.e. their authentic selves). In the episode, Katy says she cut her hair because she really wants to be her “authentic self 100%”. A few months earlier in the year, she had made a comment at the 2017 Grammy Awards about shaving her head–but “which I’m really saving for a…a…public breakdown–and I am down for that”, assuring us with a bright smile and well-done face, “I’m always moments away from that–obviously”, as her interviewers laugh heartily (youtube). Was Britney always moments away from a mental breakdown too–and we just didn’t notice until it happened (and then we were shocked)? Was it a coincidence that this head-shaving allusion was given a few days shy of the 10 year anniversary of Britney’s un-fore-shaveable incident? Both Katy and Britney nixed their hair in a public attempt shave off a conditioned identity, to get back their “authentic self” which somehow had been lost or taken away from them. Though Katy doesn’t get to be her “authentic self” (as is inferred by her wanting so badly to be Katheryn Hudson), WE are shown what is supposedly the authentic Katy Perry in a “96-hour live stream–41 cameras capturing her every move” (youtube) on June 8-12 2017. Talk about being chained to the rhythm!
Less than a year before Katy burst into tears on “The Therapist”, the comparable pop star Lady Gaga cried during a televised CBS interview. When talking about how fame prevents her from being free out in the world (and from being her authentic self i.e. Stefani Germanotta), Gaga said, “if I can’t be free out there, I’m going to be free in here” gesturing to her heart chakra (I can’t help here but remember placing my hand over my heart in the pledge of allegiance to the land of the free). Referring to her newly released album Joanne (named after her deceased aunt, but it is also the name of her father’s Upper West Side New York restaurant–an ulterior pro-motive cooked up?), the interviewer asks with a furrowed brow, “And that’s what this album is? Getting to do whatever you want to do…”. We witness Gaga’s heavily made-up eyes start to well with tears as she affirms breathlessly “Yes sir”. The interview continues, “…and not what people are expecting or imposing on you to do” (reminds me of a certain little mermaid). The interviewer asks if it is emotional because of the pressures of fame, but she interjects: “I miss people”.
I can’t help but remember the little mermaid who wanted more than anything to do what she wanted to do, and who sang in her hit song “Part of My World” the lyric: “I wanna be where the people are”. And according to Gaga in that interview, the only people she really gets to be with are her family. She frames this sentimentally as she talks about how (“especially for an Italian Catholic girl”) pleasing Daddy “feels really good”. Besides Ariel, guess which other princess is managed by Daddy? The Princess of Pop! (usmagazine.com). And this isn’t even to mention Beyonce’s dad, creator and owner of Music World Entertainment, or Christina Aguleria’s not-so-great relationship with her father (usmagazine.com). Although accusations of Lana Del Rey’s millionaire father paying for her career are disputed (digitalspy.com), she has dropped hints about “older men”, most notably in the song “Cola” from her album Born to Die, singing, “I pledge allegiance to my dad for teaching me everything he knows” (culledculture.com). Whatever the allegiance may be, it all seems so…patriarchal.
It turns out my intuitive connection-making between Lady Gaga and The Little Mermaid is not so fantastical: in 2014 Gaga did a performance in which she transformed from a mermaid into an devilish octopus woman (dailymail.co.uk). But wait–this is not how the happily-ever-after Disney movie goes! Gaga’s transformation is a direct inversion of the original story in which the protagonist rises above her under-worldly limitations, liberating herself and other mermaids as she unties with her true love and the evil octopus woman is eliminated from the sea. Gaga’s performance appears as a promotion of the energetic directive of the reversed pentagram:
the decent into destructive unconsciousness in which the lower mortal body overrides the powers of the higher mind and immortal soul. I maintain my belief however that Gaga, Perry et al. are merely the faces and facades of an Ursula who lurks in the shadows of the entertainment industry in the dark seas of American Pop. And Katy singing that she is “no one’s little puppet” in “Hey Hey Hey” is only convincing when viewed as a tactic of reverse psychology. But that’s OK because Taylor Swift came out of the grave about being a mind/body/soul-controlled puppet in her video “Look What You Made Me Do“.
So…WHO or WHAT is it that is making Taylor (and all these other poppet stars) “do”? In this article I am not going to delve into this deviled egg, as plenty of other people around the world wide web have put the pieces of this broken shell together in eloquent and illustrative ways (as can be discovered here). In shape of piecing the puzzle, the incoming picture screams of a narrative of some sort of mind/body/soul capturing–which, rather than being hidden, is crafted right before our eyes, into our ears, and e-scent-ially under our noses. And in the case of elaborate videos like “Look What You Made Me Do”: where are the creators of these videos getting their ideas?!?! IF their “inspiration” originates from anything in real life, these videos appear to be an illustration of nothing less some form of mind-control program and/or Satanic ritual abuse. The end-result of this physical/emotional/mental/spiritual torture is what is called in psychology dissociative identity disorder (does wanting to find one’s authentic identity trigger a bell?). In spiritual terms it is the fragmentation of the soul and a subsequent capturing of the voice (hey, Taylor was born the same year The Little Mermaid came out!).
But to bring the bubble back down to earth: who cares if Taylor Swift is a mind-controlled poppet slave icon fetish who has Satanic ritual abuse induced dissosiative personality disorder? Who cares if Britney and Beyonce jacked up cars? Or that Britney shaved her head 11 years ago during a public “mental breakdown” and Katy Perry cries on reality T.V., later to lose her head as Marie Antoinette? If Taylor Swift can be so glamorous and beautiful and rich and famous as a resurrected zombie, then I want to be that too! And as seen behind-the-scenes of her video, Taylor encourages “everyone to look like a corpse–at least once”.
These incidents and aesthetics served up to the public on the silver screen platter are just the icing on the cake of some double, double toil and trouble bubbling under the surface. In trying to fit all of these pieces together, it is obvious the messages being blown into the ears of the public via the loud speakers of Pop entertainment today are out of *SYNC with good intention. Entertainment has been replaced by entrainment and entrapment (I suggest we exitainment for enlightenment instead). It is blossoming from and feeding a paradigm/agenda which I suggest is shared by a global political eco(nomic)system. Just as there is a military-industrial complex, couldn’t there be an entertainment-political complex? How could this not be the case when the current President was the host of the “reality” T.V. show The Apprentice?
I’m going to briefly throw a large net over this whole effervescent mess to attempt to ambitiously blow it all up neatly. As this is essentially a global net (and thus in need of more disentanglement than I can offer at this time in this (p)article) I can only hint at some connections which can hopefully fuel understanding of the truth of who/what/where/when/why is behind music entertainment today. I maintain my belief that the pop stars we see lit on stage and screen are not the originators of their artistic output–that they are simply a dolled-up face/body-poppet controlled and conditioned by other forces (i.e. producers, directors, and songwriters, among other entities). It is as clear as 7-up that the top-of-the-class Pop stars from the startup of the Millennium up until the present day are not in their right minds (they even admit it on camera!). The promotion of this through sound and image in and out of reality broadcasts the message that physical/emotional/mental/spiritual abuse is not only acceptable but glamorous and desirable. Other messages streamed throughout the thread of post-Millennium music film serve to feed an entertainment-political complex whose agenda involves worldly domination (and it starts with you, consumers!). It seems likely that it comes down and around to various international elite powers who are in fact warring against and/or collaborating with each other for (an imagined) ultimate domination. And–to further push the bubble–each Pop act in this situation is an idol puppet “owned” by a certain elite group who use/abuse them to further their agenda of maintaining and gaining power (by manipulating you through entertainment! $$$). If this all sounds too globally insane to be in-sync, perhaps this is because reality is stranger than fiction (as fiction ultimately stems from the roots of reality!). And this has never been more so since the beginning of the Millennium, at which (let us not forget!) the orchestration of the 9/11 event blew in and up a different American era (bye bye bye to the (one) World (two) Trade Center (towers)). And now, as President Trump stated in his 2018 State of the Union Address: “There has never been a better time to start living the American Dream”. I’d like to correct him: There has never been a better time to start waking up from the American Illusion.
On 1-11-2018, Taylor Swift’s 4:11 minute video “End Game” was released, only to be followed a week later by the also 4:11 minute Justin Timberlake video “Supplies“, released on 1-18-2018. In “Supplies” we are shown an end-of-the-world situation in which we are told, among other negative things, “we’ll be living in the walking dead”. At the end of the video (which is apparently also the end of the world)–after the song ends–a multi-ethnic politically-correct post-Millennial child faces the camera and tells us straight up: “Just leave. Die already”.
Thanks, kid, for finally telling us what to do! So now its out of the hat that the mainstream entertainment industry is a death-promotion industry. But apparently music that tells us to go and die already is OK because it gets balanced out with–as we saw at this years’ Grammy Awards–an epic promotion of the suicide hotline. Somehow the numbers all add up to something we can call on when the bell tolls, right? But lets get real: FEAR knew about this agenda all the way back in 1982. And they made a (really good) song about it. Sorry, JT & Co., but your “supply-eye-eyes” will be blindsided in the blink of an eye seeing into the mirror of Truth during the great Bye Bye Bye you are promoting. When will the bubble finally pop? Is this really YOUR agenda?
In the meantime can we just go back to bringin’ in da noise and getting digitally down with no strings attached as space cowboys?
Keepin* it *NSYNC with the words of the Y2K Space Cowboys (Yippie Yi-Yay):
Here it comes, Millennium
And everybody’s talkin’ ’bout Jerusalem
Is this the beginning or the beginning of the end
Well, I’ve got other thoughts my friend
See I’ve got my eyes on the skies
The heavenly bodies up high
And if you’re in the mood to take a ride
Then strap on a suit and get inside
[chorus] If you wanna fly, come and take a ride
Take a space ride with the cowboy, baby
If you wanna fly, come and take a ride
Take a space ride with the cowboy, baby
Why-yi-yi-yippie-yi-yay-yippie-yi-yo-yippie-yi-yay
Why-yi-yi-yippie-yi-yay-yippie-yi-yo-yippie-yi-yo
We don’t need all these prophesies
Tellin’ us what’s a sign, what’s a sign
‘Cause paranoia ain’t the way to live your life from day to day
So leave your doubts and your fears behind
Don’t be afraid at all
‘Cause up in outer space there’s no gravity to fall
Put your mind and your body to the test
‘Cause up in outer space it’s like the wild wild west
[chorus]
Boom and never let you try to stop me
Born to fly sky high, up to the top see
Nothing to fear, no doubts and no tears
Millennium sound to motivate the future years
And you can either be scared or get prepared
Against all odds I bet you never would’ve dared
To make these moves and take flight like me
To come through for the world prophecy
Space connect to overthrow you interception
Ready or not, make it hot there ain’t no question
Get *NSYNC and put your head to the sky
Keep the faith one love from Left Eye
[chorus].
P.S. Having been influenced by The Little Mermaid years before any of this Millennium Pop bubbled to the surface, I still dream of the day Ariel gets her voice back and all the poor unfortunate souls trapped by the black magician under the sea will be returned to their true existence.
In some other words: fuck pop bring in the punk and the funk–and we can call it puck!
