Sinister Sites: IRS Headquarters, Maryland

 The IRS headquarters in New Carrollton, Maryland is a government building  that, despite being constructed with public funds, contains art referring to elite secret societies. More importantly, the art conveys a strange message about the U.S. Constitution, and the American people in general. We’ll look at the symbolic meaning of the art found in front of the IRS headquarters in Maryland.

The IRS is probably the most hated institution in America – mainly because its primary role is to force people to hand over their hard-earned cash. This modern equivalent of the proverbial tax collector indeed collects money from American workers and gives it to a government that will, in turn, use this money to send drones abroad or to build information superstructures to better monitor these same workers. What’s not to like?

The IRS was originally created as a “temporary measure” during wartime (funny how the Canadian Revenue Agency was also supposed to be “temporary”), but there is nothing temporary about it now. In fact, the gigantic IRS complex in New Carrollton, Maryland was built in 1997 and is still growing today, indicating that this institution is indeed here to stay. This modern building has all of the state-of-the-art amenities one can think of, but it is the odd public art in front of it that is the most noteworthy. As is the case for many government buildings, the art displayed means absolutely nothing to most people, but to those who are versed in secret society symbolism, its implications are manifold and profound. In fact, fully understanding the origins and the meaning of the symbols in front of the IRS building means understanding who are truly in power in America (and around the world), what they believe in and what they truly think about us, the masses.

The IRS is not known to be a very artistic institution and likewise there is not much art present at its headquarters in Maryland. However, the few pieces that are on display manage to convey everything that needs to be known about the occult elite.

General Layout

The entrance to the IRS headquarters is guarded by two black and white pillars made of the highest quality marble, topped with white hands. Between the two pillars is a dark pyramid with a metallic capstone on which is written “We the People”. What does all of this represent? Here’s an “official” description:

“The most striking elements are the huge, white marble hands atop each column. Each hand points skyward, one with the forefinger extended; the other is an open hand, the fingers ever so slightly cupped.

The 1997 work is called “Vox Populi,” which is Latin for “the voice of the people.” The hand with the raised index finger represents deliberation, argument, the gesticulation of a speaker giving his or her opinion. The hand with an open palm represents the act of voting or taking an oath.”
- The Washington Post, “The Big Hands of the Law”

That is all well and good, but what does “Vox Populi” have to do with the IRS? Can citizens weigh in or vote on anything about the IRS? Why are the pillars black and white? Why is there a pyramid with a capstone between them? As it is the case for most occult symbols, there’s as basic (and unsatisfactory) interpretation given to the masses and a “real” meaning for those in the know. For those in the know, the art is a nod to the highest degrees of Freemasonry, the true source of power in America – not unlike what the Washington monument stands for.

The art in front of the IRS Headquarters features a pyramid with a capstone between two pillars. The black and white stripes refer to the Hermetic concept of duality.

This Masonic monument in Israel bears exactly the same elements: A pyramid with a capstone between two pillars. The stripes on the ground represent duality.

Let’s look at each element of this (not so) public art.

Twin Pillars

The symbolism of the twin pillars is ancient and very meaningful as it refers to the core of hermetism, the basis of secret society teachings. In short, the pillars represent duality and the union of opposites:

“The right Tablet of the Law further signifies Jachin – the white pillar of light; the left Tablet, Boaz – the shadowy pillar of darkness. These were the names of the two pillars cast from brass set up on the porch of King Solomon’s Temple. They were eighteen cubits in height and beautifully ornamented with wreaths of chainwork, nets, and pomegranates. On the top of each pillar was a large bowl – now erroneously called a ball or globe – one of the bowls probably containing fire and the other water. The celestial globe (originally the bowl of fire), surmounting the right-hand column (Jachin), symbolized the divine man; the terrestrial globe (the bowl of water), surmounting the left-hand column (Boaz), signified the earthly man. These two pillars respectively connote also the active and the passive expressions of Divine Energy, the sun and the moon, sulphur and salt, good and bad, light and darkness. Between them is the door leading into the House of God, and standing thus at the gates of Sanctuary they are a reminder that Jehovah is both an androgynous and an anthropomorphic deity. As two parallel columns they denote the zodiacal signs of Cancer and Capricorn, which were formerly placed in the chamber of initiation to represent birth and death – the extremes of physical life. They accordingly signify the summer and the winter solstices, now known to Freemasons under the comparatively modern appellation of the “two St. Johns.”

In the mysterious Sephirothic Tree of the Jews, these two pillars symbolize Mercy and Severity. Standing before the gate of King Solomon’s Temple, these columns had the same symbolic import as the obelisks before the sanctuaries of Egypt. When interpreted Qabbalistically, the names of the two pillars mean “In strength shall My House be established. “In the splendor of mental and spiritual illumination, the High Priest stood between the pillars as a mute witness to the perfect virtue of equilibrium – that hypothetical point equidistant from all extremes. He thus personified the divine nature of man in the midst of his compound constitution – the mysterious Pythagorean Monad in the presence of the Duad. On one side towered the stupendous column of the intellect; on the other, the brazen pillar of the flesh. Midway between these two stands the glorified wise man, but he cannot reach this high estate without first suffering upon the cross made by joining these pillars together. The early Jews occasionally represented the two pillars, Jachin and Boaz, as the legs of Jehovah, thereby signifying to the modern philosopher that Wisdom and Love, in their most exalted sense, support the whole order of creation – both mundane and supermundane.”
- Manly P. Hall, The Secret Teachings of All Ages

The same way Masonic pillars guard the entrance of Masonic temples, two pillars guard the entrance of the IRS building.

Masonic art depicting the twin pillars named Jachin and Boaz guarding the entrance of a Masonic temple.

While not all pillars are necessarily Masonic, those in front of the IRS building contain other features that leave no doubt regarding their secret society connection.

The IRS pillars feature exactly 13 black and white stripes and a very significant hand sign.

Sharply contrasting with the rest of the building, the pillars are stripped in black and white, a pattern evoking duality, a concept that is visually represented on the Masonic mosaic pavement.

Probably the most important feature in Masonic lodges, the black and white checkerboard pattern is meant to be a visual representation of the concept of duality. Variations of this pattern do exist.

To make things even more explicitly Masonic (for those in the know) each pillar is comprised of exactly 13 stripes, a number that is of the utmost importance in Masonic lore (research the omnipresence of the number 13 on the American dollar bill). Considering the constant attention to occult numerology in Masonic art, this fact alone should be very telling.

Above each pillar are white marble hands. It is interesting to know that formal Masonic attire requires white gloves. One of the hands points upwards, towards the sky. While the official meaning claims that it refers to the act of public discussion and discourse, this hand sign, place in the esoteric context of the artwork, takes on a much more ancient and mystical meaning.

Named the “hand to god”, the “sign of Preservation” or the “hand of the Mysteries”, the sign of the hand pointing upwards can be found in many works of art that bear an esoteric meaning. It appears to be always associated with figures that are seen to possess “knowledge from the gods”.

The classic depiction of Hermes always depicts him pointing towards the heavens. Known as the “messenger of God”, Hermes is a central figure in Masonic lore. He is considered to be the teacher of theurgic sciences, therefore helping humanity ascend towards godhood (the word Hermetism derives from Hermes).

“Plato, an initiate of one of these sacred orders, was severely criticized because in his writings he revealed to the public many of the secret philosophic principles of the Mysteries.” – Manly P. Hall. In this classic depiction of Plato by Raphael, he is pointing upwards – probably because he “initiated” the world to some of the secret teachings of Mystery schools.

This Masonic item for sale at 1stdibs.com features the same hand sign as found in front of the IRS building.

In the context of esoteric teachings, a human pointing towards God can represent the ultimate goal of the Mysteries: Ascending from the state of mere mortal to achieve godhood.

The hand above the other pillar does not point towards the sky, but is rather opened. While pointing towards somewhere means moving into that direction, an opened palm is traditionally associated with “stop” or “halt”.  In Masonic symbolism, the twin pillars are often topped with contrasting symbols (the sun and the moon or globes representing earth and heavens). Could the white hands above the pillars represent the same opposite notions of godhood (pointing towards god) and earthly materiality (halt sign)?

On these Masonic pillars are etched various quotes regarding the U.S. Constitution and the Bill of Rights. Some of them are quite odd in the context of today, such this one by Barbara Jordan:

“The Bill of Rights was not ordained by Nature or God. It’s very human, very fragile.” Hmmm, that’s … unsettling.

Considering the fact that a bunch of laws blatantly violating the Bill of Rights (notably the First and Fourth Amendment) were enacted shortly after this building was erected, one can ask if this quote wasn’t some kind of a warning. As we see new police-state-style laws violating privacy, free speech and encouraging oppression, we can definitely conclude that the elite views the Bill of Rights as something “very human, very fragile” that can easily be violated. While the above quote can be interpreted as a reminder to not take the Bill of Rights for granted, in the context of its location, it conveys an unsettling message about how it can easily be tampered with … and even disappear. Think I’m going too far? Check out this next piece.

The Pyramid

Between the two pillars is the most recognizable symbol representing the occult elite: A pyramid with a shiny capstone. On the pyramid is written the US Constitution, which famously starts with “We the People”. Looking closer at this sculptures, several questions come to mind.

First, why is the U.S. Constitution etched on a symbol that is associated with occult secret societies whose highest degrees are restricted to “elite men”? Isn’t there a contradiction here? Second, it is somewhat clear that the charcoal-colored base of the pyramid represents the masses (it is written “We the People” right on it), while the shiny, illuminated capstone represents the “illuminated” elite. Isn’t this … elitist? Does the capstone that is standing above the pyramid and the U.S. Constitution mean that the elite is above the law? Finally, why isn’t the Bill of Rights on the pyramid? Is it because it is “very human, very fragile”? Is it considered outdated by the NWO elite? This barely noticeable artwork contains an infinitely of dark implications.

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Beyonce shared some photos with her fans..and here are her shoes with eyes on them.

Why the devil's sign Beyonce...why???

Creepy-ass Terry Richardson with Lady Gaga, who is wearing a sex-kitten outfit. Wait, maybe this has nothing to do with sex-kitten programming and she only likes the pattern…

Nope, sex-kitten.

The Movie “Videodrome” and The Horror of Mass Media

“Videodrome” is an 80′s science fiction horror film that contains some gore, James Woods and Betamax videotapes. Above all, the movie communicates a strong message on the perversity of mass media, its dangers to the human psyche and how it is used to manipulate the masses. This article will look at the meaning of the movie “Videodrome” and how it reveals the shadier aspects of mass media.

Warning: This article contains spoilers and disturbing subject matters.

Videodrome is a dark Canadian movie about a sleazy CEO of a small cable TV station and his discovery of a broadcast signal featuring live torture and murder. As fascination turns into obsession, then into physical illness, the movie symbolically describes, in a very extreme and graphic way, the impact of mass media perversity on the human psyche, as well as the dark forces behind it.

The movie’s odd mix of gore, taboo subject matters and social commentary make it an original, but disturbing film to watch. I am glad I did not watch the movie as a child because I’d probably have gotten nightmares for days. Thirty years later, though Videodrome‘s horror special effects appear quite corny and laughable, one thing is for sure: Its message hasn’t aged a bit. In fact, the metaphorical meaning behind the twisted scenes in the movie is as real, relevant and shocking as it ever was, which probably explains why it became somewhat of a cult classic.

Videodrome was produced in 1983 but one can argue that it was decades ahead of its time. It successfully predicted the growing control of mass media by shady forces, the coming of reality television and the propagation, through various mediums such as the Internet, of all kinds of extreme underground films.

While many perceive the movie as a criticism of the effect of mass media, some claim that it is nothing less than a manifesto from the elite to reveal the way it functions.

“This writer submits that part of the ongoing “Revelation of the Method”, the cryptocracy recently issued a kind of Rosicrucian manifesto, revealing precisely what television is doing to us and what the future of the video imperium they are planning for us will be like. The name of this manifesto is Videodrome, directed by the Canadian David Cronberg whose other works include two films about psychic assassins, Scanners which features the Kennedy-sigil exploding head and the Dead Zone”.
- Michael A. Hoffman, Secret Societies and Psychological Warfare

Let’s look at the movie’s plot and how it relates in the context of today.

Discovering the Videodrome

Max Renn is the president of CIVIC-TV, one of those sleazy television stations that specialize in low-grade programming such as soft “adult” shows and low grade violent movies. He is convinced that the public is hungry for more extreme TV experiences and that his network must bring this to its viewers.

During a TV interview, Max Renn argues that TV acts as a catharsis, meaning that it is a healthy outlet for our violent and sexual needs. He soon discovers first hand that his theory is completely false.

Renn is actively looking for something new and exciting to propose to his viewers. To do so, he has a secret contact: A TV pirate named Harlan who can intercept satellite signals from across the world. The pirate shows him a television show that will change his life.

Harlan shows Renn a television signal broadcasting nothing but ultra-realistic torture, abuse and murder performed by masked individuals. Renn believes that it is all staged and that it is exactly the kind of programming his network needs.

Renn discovers later in the movie that nothing in Videodrome is staged and that it is, in fact, snuff TV, which is real live footage of violent acts.

In the “real world”, the concept of snuff videos is taboo and controversial. However, some researchers have exposed the existence of underground networks distributing snuff videos in elite organizations. Everything from blood rituals to abuse involving mind-controlled slaves and minors is distributed and consumed by high-placed circles operating above the law. Also, high-profile crimes that bear a ritualistic aspect are sometimes recorded and sold at high price.

“Some of the Son of Sam murders were videotaped by cult-members and copies command high prices in cash, drugs and other commodities on the underground snuff-film circuit.”
- Michael A. Hoffman, Secret Societies and Psychological Warfare

The masses are introduced and desensitized to the occult elite’s taste for the violent and perverse through mass media.

“None of this ought to be too shocking to any American TV watcher since a version of this process can be seen in those glimpses of actual murders and other horrors we are shown on broadcast TV, on the “news” and in “specials”, right in the “Videodrome”. Simulated snuff-videos are already available at many of our cheery neighbourhood video-rental stores. Cable and network television broadcast the highest grade of brutalizing voyeurism.”
- Ibid.

In the movie, Max Renn is somewhat representative of the masses. Even though he knows that Videodrome is not the most engrossing show on TV, he still irresistibly attracted to its graphic material. Fascination with blood and lust is a primal and instinctive reflex and has been used as a tool to capture attention and to control since ancient times (see Circus and Gladiatorial Games in the Roman Empire). Furthermore, when no moral objections are involved, some are willing to be exposed to truly evil and twisted deeds to satisfy a craving that often turns into an obsession.

In the movie, Nicki, the woman Max is dating, gets sexually aroused by the violence in Videodrome. Completely submitting to the call of their lowest impulses, the couple gets “busy” while watching some guy getting tortured. While blood and lust are primal instincts that are meant to insure survival, we see here that they’ve been twisted and distorted by mass media to manipulate weaker minds.

Watching Videodrome quickly produces negative effects on Renn. His interest for the show quickly turns into an obsession. The tape he uses for entertainment soon begins to consume him.

Max’s obsession for Videodrome causes a blurring between reality and fiction. Here, TV takes life and literally calls him.

Max begins to experience intense hallucinations. He doesn’t see a difference between television and reality. He soon realizes that Videodrome is not just “entertainment”.

More Than a TV Show

While researching the origin of Videodrome in order to broadcast it on his TV station, Renn learns that it is much more than a TV show. One his friends tells him that the action on Videodrome is not staged and that those behind it are powerful and dangerous. While the show simply appears to be about violence, there is much more behind it. Max’s friend tells him:

“It has something that you don’t have, Max. It has a philosophy. And that’s what makes it dangerous”.

This concept is very true in mass media. While most people do not live according to a specific philosophy and do not put a lot of thought about what they watch on TV, those in power and those controlling the airwaves are often motivated by strong philosophical and political motives. This results in the communication of propaganda to people who do not even realize they are watching propaganda.

The man behind Videodrome is Professor Max Oblivion, who only communicates through TV screens.

“The battle for the mind of North America will be fought in the video arena. The Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those watching. Therefore, television is reality. And reality is less than television.”

Oblivion is an idealist convinced that technology, particularly television, would help lead humanity to a better tomorrow. He runs “Cathode Ray Mission”, a homeless shelter that provides a “healthy dose” television to those who cannot afford it.

Oblivion’s office is full of items relating to religion and philosophy. He believes that mass media can bring near-spiritual salvation and promise eternal life through television.

As it is the case in the real world, Professor Oblivion’s altruistic dream got taken over by people who mean business. He is killed by a shady yet powerful organization that wants to use Videodrome to control and manipulate the masses. And Max soon discovers who they are.

The organization runs behind a front company named Spectacular Optical. The eye logo and the ominous slogan “Keeping an eye on the world” is rather Illuminati-ish.

When Renn meets to head of Spectacular Optical, he is shown an introductory video that describes the organization an “enthusiastic global corporate citizen that makes inexpensive glasses for the Third World and missile guidance systems for NATO”. In other words, it is the type of mega-corporation that would be part of our world’s global elite. Spectacular Optical also makes Videodrome.

The head of Spectacular Optical, Barry Convex, tells Max that Videodrome is extreme because exposure to violence affects the nervous system and “opens receptors in the brains and the spine which allow the Videodrome signal to sink in” – and mess with people’s minds. One can wonder if there is some factual basis behind this theory: Do sex and violence create a primal response in our bodies that makes us more receptive to other messages and signals? Even if there were serious studies on the subject, I doubt they would be divulged to the public.

Max then learns that he was purposely deceived into watching Videodrome because Spectacular Optical needs to take over his TV station to broadcast its signal to the masses. To do so, Max will be used as a mind-controlled patsy to kill his partners and hand over Channel 83 to Spectacular Optical.

When the Program Programs You

Although Max realizes that weird stuff is going on, his exposure to Videodrome has rendered him utterly powerless and at the mercy of those broadcasting the signal. The movie illustrates in a rather graphic matter how individuals can easily be brainwashed and controlled by mass media.

The head of Spectacular Optimal literally jams inside Max a tape in order to program his mind and control his actions. This is a rather graphic way of representing how the elite-controlled mass media programs its viewers, figuratively inserting a tape into people to get its Agenda and messages accepted. Why is this familiar with Pattinson's photos which I added a few days ago?

Controlled by the tape, Renn enters the office of his TV station and takes out his partners. He is then told to go take care of Bianca Oblivion, the daughter of Professor Oblivion. There, he is stopped short and Bianca uses a TV screen to “deprogram” him. He is however quickly reprogrammed to kill the head of Spectacular Optical, Barry Convex. Max has become a blank slate that can be programmed and re-programmed at will.

Bianca’s TV points back at Max the gun he is holding. Media therefore became a reflection of him and him, a reflection of media. The TV then shoots Max which allows him to be free from the Videodrome tape and to be “reborn” in an almost religious way. Max’s new mantra: “Death to Videodrome, Long Live the New Flesh”.

Max then goes to take care of Barry Convex, who is in an optical trade show for reading glasses and such. The theme of the show is de Medici, Florence’s prominent political dynasty, banking family and royal house of the 14th century. This choice of theme is rather interesting considering the fact that Spectacular Optical can easily be related to the occult elite we call the Illuminati.

The de Medici family can be seen as a prototype of today’s Illuminati bloodlines, as it had a stronghold on the monetary, cultural and even religious affairs of their subjects (the family produced four popes). From an occult point of view, de Medici’s translated classical works on Mystery teachings (such as the Corpus Hermeticum) are often credited for having revived hermeticsm, the Kabbalah and Gnosticism in Europe – all basic teachings of today’s secret societies. The theme of the trade show can therefore further associate Spectacular Optical with the occult elite.

The stage of the trade show contains two quotes: “The eye is the window to the soul” and “Love comes in at the eye”. Considering the fact that this organization controls people by making them watch acts of cruelty, these sayings conceal a disturbing meaning. Then again, doublespeak is a specialty of the elite.

When Renn shoots Convex, we find out that he’s some kind of alien or monster, which is somewhat reminiscent of the movie They Live (read my article about They Live here).

Dazed and Confused

After carrying out his murderous mission, Renn hides in an abandoned place. He once again finds himself in front of a TV that directly talks to him. It tells him that “death is not the end” and that it can “help him”. Is it proposing eternal life through appearing on television? Max then tells the TV what many people unconsciously feel.

“I don’t know where I am now. I am having trouble finding my way around.”

His exposure to Videodrome (mass media) has caused him to lose his thoughts and even his free will. The TV, which uses the image of Nicki to seduce him and attract his attention, replies:

“Videodrome still exists. Its very big, very complex. You’ve hurt them, but you haven’t destroyed them. To do that, you’d have to go on to the next phase.”

The TV then tells him that he needs to go “all the way” and become the New Flesh. To do that, he has to kill himself. We see here how mass media can be a manipulative force, using seduction and rhetoric to influence behavior, even if it involves shooting oneself in the head. Then, the TV says: “Here, I’ll show you”.

The TV shows Max how to shoot himself.

Right after, Max imitates what he saw on television, says  “Long live the New Flesh” and shoots himself in the head … and the movie ends on that unsettling note.

Did Max truly “complete his transformation” and become New Flesh? Probably not. Like most of what is said on television, all of this New Flesh story was most likely a bunch of BS used to manipulate his confused mind and to push him towards suicide. By shooting Convex, Max became an enemy of Videodrome and, like most mind-controlled patsies, he was pushed into a “self-destruct mode” once he stopped being useful to the organization.

On a larger scale, the ending of the movie communicates a strong statement about the influence of mass media on the world. Does it directly influence people’s thoughts and actions, even if it goes against their best interests? This movie says yes.

“The Hunger Games”: A Glimpse at the Future?

The hit movie “The Hunger Games” takes place in a dystopian future where the poor and wretched masses live under the high tech tyranny of a wealthy elite. Is the movie depicting the kind of society the elite is trying to establish for the New World Order? We’ll look at characteristics of the world presented in “The Hunger Games” and how they relate to plans for a New World Order.

Pushed by a gigantic marketing campaign, The Hunger Games did not take long to become a world-wide sensation, especially among teenagers and young adults. Sometimes referred to as the new Twilight, The Hunger Games has similar components to the previous book-to-movie craze (i.e. a young girl torn between two guys) but takes place in a very different context.

Set in a dystopian future (why is the future always “dystopian”?), The Hunger Games paints a rather grim picture of the world of tomorrow, whether it be from a social, economical or political point of view. In short, it is a big-brotherish nightmare where a rich elite thrives on the backs of a starving population. Meanwhile, the perversity and voyeurism of mass media is taken to absurd levels and is used by the government as a glue to keep its unjust social order intact. Is The Hunger Games giving teenagers a glimpse of a not-too-distant future? It doesn’t take a crystal ball to see the elite are trying to take the world in that direction. Is the author Suzanne Collins communicating a strong anti-NWO message to the youth by showing its dangers or is it getting the youth used to the idea? Let’s look at the fictional, yet possible, future world of The Hunger Games.

Note: This article is about the movie and not the book series. The movie has been formatted in a different way and conveys a slightly different message.

The NWO for Teenagers

The Hunger Games takes place in a context that is strikingly on-par with descriptions of the New World Order as planned by today’s global elite. One of the main characteristics of the New World Order is the dissolving of regular nation-states to form a single world government to be ruled by a central power. In The Hunger Games, this concept is fully represented as the action takes place in Panem, a totalitarian nation that encompasses the entire North-American territory. The United States and Canada have therefore merged into a single entity, a step that many predict that will happen before the full-on creation of the NWO.

The President of Panem addressing the Nation.

In Panem, the concepts of democracy and freedom have disappeared from America to be replaced by a high-tech dictatorship based on surveillance, monitoring, mass-media indoctrination, police oppression and a radical division of social classes. The vast majority of the citizens of Panem live in third-world country conditions and are constantly subjected poverty, famine and sickness. These difficult living conditions are apparently the result of a devastating event that engendered the complete economic collapse of North America. In District 12, home of the hero Katniss Everdeen, the locals live in conditions similar to the pre-industrial era where families of coal miners lived makeshift in shacks and eat rodents as meals.

While the masses look as if they are living in the 1800s, they are nevertheless subjugated to the high-tech rule of the Capitol, which uses technology to monitor, control and indoctrinate the masses. Surveillance cameras, RFID chips and 3D holograms are abundantly used by the government to manipulate the will of a weak and uneducated population (although there are signs of solidarity and rebelliousness among the peasants). To preserve the fragile social order, the Capitol relies on a massive police force that is always ready repress any kind of uprising. The workers are often rounded up in civilian camps where they are shown state-sponsored propaganda videos. Panem is therefore a high-tech police state ruled by a powerful elite that seeks to keep the masses in poverty and subjugation. As we’ve seen in previous articles on this site, all of these concepts are also thoroughly represented in other forms of media as there appears to be a conscious effort to normalize the ideas of a high-tech police state as the only normal evolution of the current political system.

Living in sharp contrast to the proletariat, the elite in The Hunger Games inhabits the glistening Capitol city and indulges in all sorts of extravagances and fashion trends. This upper-echelon of society perceives the rest of the population as an inferior race to be ridiculed, tamed and controlled. All valuable resources have been vacuumed from the people living in the districts to profit the Capitol, creating a clear and insurmountable divide between Regular People and The Elite. The concept of an opulent elite ruling over the dumbed-down and impoverished masses (thus making them easily manageable) is an important aspect of the New World Order and it is clearly depicted in The Hunger Games. The government’s reliance on high-tech surveillance and mass media to keep the population in check is something we are already seeing and, if we keep going in that direction, the world of The Hunger Games will soon become reality. There is another concept important to the occult elite that is at the heart of The Hunger Games, however: Blood sacrifices to strike fear and gain power.

Blood Sacrifices for the Elite

Katniss is selected as tribute of her district.

The government of Panem created the Hunger Games in order to remind the masses of the “great treason” they have committed by engaging in a rebellion. As punishment for their insubordination, the twelve districts of Panem must offer to the Capitol one boy and one girl between the ages of 12 and 18 to be part of The Hunger Games. The teenagers must fight to the death in an outdoor arena in a Roman Gladiator-like event that is televised across the nation. The rules of the Games reflect the elite’s contempt and total lack of respect for the masses. The name of the Games itself is a reminder of the state of perpetual starvation the lower class is purposely kept in by the rulers in order to better control it.

The boys and girls that are selected to take part in The Hunger Games are called “tributes”, a term that usually describes a payment rendered by a vassal to his lord and thus even reflects the servitude of the mass to its rulers. Since time immemorial, blood sacrifices were considered to be the highest form of “tribute” to gods and, on an occult level, were said to wield the most potent power to be tapped by rulers and sorcerers. The same way ancient Carthaginians sacrificed infants to the god Moloch, inhabitants of Panem sacrifice their children to the Capitol. The Hunger Games are therefore a modern version of these ancient rituals that the masses had to participate in to avoid the wrath of their superiors. The entire nation of Panem is forced to watch the sacrificial ritual that takes place in the Capitol, stirring up fear, anger and blood lust within them, amplifying the power of the ritual. 

"Tributes" for The Hunger Games become the property of the state and are revoked of all their rights.

In The Hunger Games, the ritualistic death of young people chosen from the mass is sold as a sporting event, a nation-wide celebration that is packaged as a reality show. Not only do the poor people participate in these demeaning events, they even cheer for their favorites. Why do they accept all of this? One of the reasons is that mass media can get people to accept anything … if it is entertaining.

Appealing to the Basest Instincts

The games are broadcast to the nation in the form of a reality-show, complete with TV hosts who analyze the action, interview the tributes and judge their performance. The tributes are so indoctrinated in this culture that they readily accept the rules of the game and turn are fully willing to start killing to win the Games. The masses also actively participate in the event, cheering for their district’s representatives, even though the entire event celebrates the sacrifice of their own. This reflects a sad but true fact concerning mass media: Any kind of message can reach people if it manages to capture their attention. There are two things that automatically, almost irresistibly, grab our attention: Blood and sex, the remnants of our primal instincts. The sheer violence of the event grabs the attention of the masses, who forget that the Games serve as a reminder of the people’s servitude to its elite. This concept is already well-known and fully exploited in today’s mass media, as elite-sponsored messages are constantly sold to consumers as being “entertainment”. The Hunger Games therefore aptly portray the role of media in the manipulation of public opinion. Will the movie help young people realize this fact?

At one point in The Hunger Games, the death of a little girl shocked the people to a point that it brought a brief moment of lucidity and solidarity as the kill highlighted the atrocity of the Games. The live broadcasting of the death lead to a violent uprising in her district as the locals realized that they were willing participants in something terrible. The uprising was quickly quelled however, by the ever-present police force of the state. Furthermore, in order to prevent further social trouble, the producers of the show introduced a new element to the show: Love between Katniss Everdeen and Peeta Mellark, the girl and the boy from District 12. By introducing love (and, by extension, sex) into the show, the producers managed to quell the masses and brought them back to their usual state of silent stupor. This part of the movie reflects how mass media is used by the powers that be today. The worldwide reach of The Hunger Games series itself proves that stories that cleverly feature the ingredients of sex and violence are bound to get people hooked. And, even though The Hunger Games seems to be denouncing the perversity of violence in mass media, it sure brings more of it into movie theatres.

Desensitizing to a New Type of Violence

While there is no shortage of violence in Hollywood, The Hunger Games movie crosses a boundary that is rarely seen in movies: Violence by minors and towards minors. In this PG-13 movie we see kids aged between 12 and 18 violently stabbing, slashing, strangling, shooting and breaking the necks of other children – scenes that are seldom seen in Hollywood movies. While it is surely a way for the movie the grab the attention of the movie’s target audience (which happens to be teenagers aged 12 to 18) The Hunger Games brings to the forefront a new form of violence that was previously deemed too disturbing to portray in movies. But in the particular kill-or-be-killed scenario of The Hunger Games, the viewers easily go beyond this psychological barrier and find themselves yelling stuff at the movie like “Come on, Katniss, take your bow and shoot that vicious little f**cker in the head!”.

The Hunger Games is set in world that is exactly what is described to be the New World Order: A rich and powerful elite, an exploited and dumbed-down mass of people, the dissolving of democracies into a police state entities, high-tech surveillance, mass media used for propaganda and a whole lot of blood rituals. There is indeed nothing optimistic in the dystopian future described in The Hunger Games. Even human dignity is revoked as the masses are forced to watch their own children killing each others as if they were caged animals. That being said, there is little to no difference between movie goers who watch the movie The Hunger Games and the masses in the movie that witness the cruelty of the Games. Both are willing participants in an event that portrays the sacrifice of their own under the amused eye of the elite. Furthermore, one can argue that the movie accomplishes the same functions as the Games in the movie: Distracting the masses with blood and sex while reminding it of the elite’s power.

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.

 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

“… 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 fromMetropolis.

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 fromMetropolis. 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.