“Prometheus”: A Movie About Alien Nephilim and Esoteric Enlightenment

The science fiction movie “Prometheus” explores theories on the origins of humanity and their relation to extra-terrestrial visitors. While most might find this premise very “fictional”, many aspects of the movie actually symbolically reflect some beliefs and philosophies of the occult elite. We’ll look at the esoteric meaning of the movie “Prometheus”.

 Warning: Major spoilers ahead!

There is no shortage of movies involving angry aliens these days and we can definitely addPrometheus to the list. However, while most of these alien flicks are centered around shooting them in their ugly faces before they destroy Earth, Prometheus has a back story dealing with timeless questions puzzling humanity such as “Where do we come from?” and “Why are we here?”… plus a healthy dose of shooting aliens in their ugly faces.

Directed by Ridley Scott, the movie was originally intended to be a prequel to the classic 1979 movie Alien, but the final product has little relation to it. The movie tells the story of scientists that discover ancient artifacts depicting visitors from another planet. To investigate this discovery, the scientists get the backing of a giant corporation and embark on space mission to find the planet the aliens came from and to ask them important questions. The premise is based on the Ancient Astronauts theory, which stipulates that thousands of years ago, early humans were in contact with a superior alien race.

As the movie’s name suggests, Prometheus is also filled with mythological references and symbolism that give the movie an underlying esoteric meaning. While the movie is, at face value, about humans going into space to find their alien creators, Prometheus can also be viewed as a metaphor for spiritual illumination as it is portrayed by occult secret societies. Let’s look at the concepts explored in the movie.

The Engineers?

At the beginning of the movie, a humanoid alien debarks on Earth and drinks a strange liquid.

An alien is dropped off on Earth by a massive spaceship.

After drinking the liquid, the alien completely disintegrates and falls into the water.

The alien is disintegrated at its very core, at the DNA level and interacts with the Earth’s water to create a new life form.

In the water, the DNA triggers a biogenetic reaction and, on a microscopic level, we see single cells beginning to multiply themselves. This is the movie’s theory on how human life appeared on Earth.

The movie’s title screen shows a single cell multiplying itself, creating life on Earth.

The movie then fast forwards to 2089, where two archeologists, Elizabeth Shaw and Charlie Holloway, are searching a cave in Ireland. There, they discover a painting drawn by a caveman that depicts humans looking towards a star formation in the sky. The researchers discover that this particular star formation can be found in the art of several ancient cultures.

The star formation in this cave painting is similar to star formations found in ancient Egyptian, Sumerian and Mayan art.

The archeologists believe that aliens (whom they call the “Engineers”) came from this particular star formation and spread human life on Earth. This causes them to embark on a space mission to find that planet and seek answers from the Engineers.

The premise of the movie is heavily inspired by the “Ancient Astronauts” theory originally proposed by authors such as Eric Von Daniken and Robert Temple. According to those theories, humanity was either created or “helped” by visitors from another planet, who left lasting traces on human history.

The director of Prometheus, Ridley Scott, appears to believe this theory. In an interview with Hollywood Reporter, he stated:

“NASA and the Vatican agree that it is almost mathematically impossible that we can be where we are today without there being a little help along the way … That’s what we’re looking at (in the film), at some of Eric Von Daniken’s ideas of how did we humans come about”.
- Hollywood Reporter, “Ridley Scott’s New Alien Movie Influenced by Ancient Astronaut Theory

Let’s take a closer look at the Ancient Astronauts theory.

Ancient Astronauts

Proponents of the Ancient Astronauts theory believe that much of human knowledge, culture and religion are remnants of an alien “mother culture”. Ancient monuments considered to be too advanced for the technology of the time such as Stonehedge, Easter Island and the Great Pyramid of Giza are considered to be proof of alien contact. Eric Von Daniken also claims that ancient art and iconography throughout the world contain depictions of space vehicles, non-human intelligent creatures and advanced technology. He claims that cultures that had no contact with one another had similar themes in their art, proving that there was a common source for their knowledge.

An actual cave painting found in Italy that is said to depict Ancient Astronauts visiting earth. This image was probably the inspiration for the cave painting found in Prometheus.

 

Egyptian hieroglyph said to depict flying machines.

In Prometheus, similarities between Egyptian, Mayan, Sumerian and other civilization’s artifacts prompt the research team to travel to space and seek humanity’s “Engineers”.

Proponents of the Ancient Astronauts theory claim that many ancient religious texts contain references to visitors from outer space. Two of the main works often cited are the Book of Genesis and the Book of Enoch, which both mention the existence on Earth of enigmatic giant beings named the Nephilim.

The Watchers and the Nephilim

The Book of Genesis mentions the presence on Earth of beings named Nephilim (the King James version uses the term Giants). These beings are described as hybrids that are the result of procreation between human females and “sons of Gods”.

“When human beings began to increase in number on the earth and daughters were born to them, the sons of God saw that the daughters of humans were beautiful, and they married any of them they chose. (…) The Nephilim were on the earth in those days—and also afterward—when the sons of God went to the daughters of humans and had children by them.”
- Genesis 6:1–4 (New International Version)

In Numbers 13, the Nephilim are mentioned again, described as giant destructive beings that appeared quite different from regular humans.

“And they spread among the Israelites a bad report about the land they had explored. They said, “The land we explored devours those living in it. All the people we saw there are of great size. We saw the Nephilim there (the descendents of Anak come from the Nephilim). We seemed like grasshoppers in our own eyes, and we looked the same to them”.
- Numbers 13:32-33

The apocryphal Book of Enoch greatly expands on the Nephilim and their originators, the Watchers. According to the text dating from 300 BC, the Watchers were a group formed of 200 “sons of God” who disobeyed God and descended to Earth to breed with humans. They were said to have taught humans advanced skills such as metallurgy, metal working, cosmetics, sorcery, astrology, astronomy and meteorology. Because the Watchers disobeyed God, they were also called the Fallen Angels.

The offspring of the Watchers were the Nephilim, described as giants who lived among humans. They ultimately became a destructive presence on Earth and were said to have consumed “all acquisitions of men”. In order to rid these beings from Earth (along with the humans who mixed with them) God created the Great Flood. In order ensure the survival of humanity, however, Noah was forewarned by God to build his ark.

Another ancient Jewish text, The Book of Jubilees, states that ten percent of the disembodied spirits of the Nephilim were allowed to remain on Earth after the flood, as demons, to try to lead humans astray until the Final Judgement. Is this why the occult elite is so bent on corrupting the masses with materiality and perversion?

So who were the Watchers and the Nephilim? Many different researchers have proposed many different interpretations, including a class of rich humans, demons or an ancient super-race. Proponents of the Ancient Astronaut theory believe that they were actually aliens that were sent to Earth to oversee the evolution of humanity – hence their name “the Watchers”.

The premise of Prometheus is greatly influenced by this theory as the aliens in the movie are giant beings who came to Earth to create and teach humanity.

The crew finally meets one of its “Engineers”, a giant alien. Unfortunately, the alien didn’t feel like having a discussion on the origins of humanity and ripped David the Android’s head off (the guy on the left).

Discovering that aliens were part of human evolution is not important from a scientific standpoint alone, but also from a spiritual one, as it could potentially render many religions completely obsolete. All belief systems would be thoroughly questioned, or at least revised to include the “alien angle”.

Spiritual Dilemma

The spiritual implications of the space mission are subtly reflected in the movie, through various scenes questioning the relevancy of Christianity in this alien-engineered context.

At the beginning of the trip, the Captain of the ship installs a Christmas tree. He is asked by his superior “What the hell is that?”, to which the Captain answers: “It’s Christmas!”.  The fact that this history-altering space mission takes place during Christmas time (the holiday that celebrates the birth of Jesus Christ) gives it a religious meaning.

Elizabeth, the hero of the movie, proudly and prominently wears a Christian cross around her neck. This pendant becomes symbolic of the spiritual dilemma that results from the findings of the mission.

When the ship arrives at its destination, the crew discovers a deserted building built by an alien civilization containing … dead aliens. After running tests on one of the bodies, the crew realize that aliens are indeed the originators of human life on Earth. In other words, the Ancient Astronauts theory is correct and being from another planet were indeed the “Engineers” of humanity. Once Elizabeth confirms this discovery to her boyfriend Charlie, he immediately questions her on the validity of her cross pendant:

“- OK, I guess you can take your father’s cross off now.
- Why would I want to do that?
- Because THEY made us.”

Elizabeth then gives a “whoa”-worthy reply:

“- And who made them?”

She therefore does not see a contradiction between believing in Christianity and in the Ancient Astronauts theory simultaneously. She still believes that God is the first creator of everything … but now she has to add aliens to the equation.

After this profound discussion, Elizabeth and Charlie get horny and have spaceship sex. What the couple doesn’t know is that Charlie was injected with alien DNA by David, an android.

Before Charlie visited Elizabeth in her quarters, David, a robot with an inquisitive mind, tricks Charlie into drinking a beverage containing alien DNA, knowing that he would copulate with Elizabeth and she would therefore give birth to a half-alien child. Notice the Christmas tree in the background.

The couple copulates without protection and Elizabeth soon learns that she is pregnant. She immediately realizes that her pregnancy is very, very wrong, as her child is not human and very hostile. Considering the fact that the mission takes place during Christmas time, Elizabeth becomes a kind of anti-Virgin Mary. Instead of giving birth to the Christ, she will give birth to a half-alien creature … not unlike the Nephilim.

Upon discovering her pregnancy, Elizabeth’s cross pendant is removed and stored away, symbolically meaning that her Christian faith is not valid anymore.

Elizabeth manages to “abort” the monstrosity. Then, the mission goes terribly wrong and everyone dies except her. After almost giving up, Elizabeth apparently has an epiphany and becomes determined to discover the truth about the aliens. Apparently, they abandoned humanity a long time ago and they were even planning to destroy earth. Something must have gone very wrong with human evolution.

At the end of the movie, she puts the cross back around her neck, signifying that she did not lose faith and that her quest for truth is now greatly spiritual. It is not about science anymore, but about the basic human need of having existential questions answered.

Elizabeth puts back her cross and is determined to find the truth about the alien Engineers.

The entire movie can be interpreted as a spiritual metaphor – a quest for enlightenment. The title of the movie itself, Prometheus, is greatly indicative of the underlying esoteric meaning of the movie.

Prometheus and the Quest for Enlightenment

In Greek mythology, Prometheus is a Titan, the primeval race of deities that came before the Olympians. He stole fire from the gods in order to give it to humanity – an act that enabled progress and civilization. For accomplishing the act of bringing fire (a symbol of divine knowledge) to humanity, Prometheus became an important figure in the mythology of Mystery schools, such as Freemasonry and Rosicrucianism, which are based on the usage of occult knowledge in order to achieve godhood.

The Judeo-Christian equivalent of Prometheus is Lucifer, a “fallen angel” of great intelligence who, once a favorite of God, then defied him and brought a new form of knowledge to mankind. The name Lucifer is Latin for “light-bringer”, which is exactly what Prometheus accomplished by bringing fire to man. This “light” is said to be the occult knowledge taught in Mystery Schools, as it allows “enlightened humans” to ascend back to godhood.

The story of the Watchers and the Nephilim described above also appear to follow the same archetype as it tells the story of “sons of God” rebelling against his rule and descending to Earth, teaching humanity important knowledge. Also, like Lucifer, the Watchers are dubbed “Fallen Angels”. Where therefore see that there’s a lot of inter-connectivity in these mythos and in the movie’s symbolism,.

At the beginning of the space trip, the president of the corporation funding the mission holds a briefing and gives a speech regarding the importance of the mission:

“The Titan Prometheus wanted to give mankind equal footing with the gods and for that, he was cast from Olympus. Well, my friends, the time has finally come for his return”.

In the movie, Prometheus is the name of the spaceship that transports humans to their alien Enginneers. It symbolically represents humans using the “fire” (knowledge) that was given to them to ascend back to godhood (their alien creators) by their own means. This metaphor of spiritual initiation is reminiscent to the many mythological stories found throughout History that hide a similar esoteric meaning.

However, Mystery Schools believe that illumination is not given to all, but only to a chosen few and this is aptly reflected in Prometheus. In the movie, all of the people who were on board for selfish, monetary or insincere purposes died. Only the one that was there for the truth and with a strong spiritual faith survived. This type of narrative is on-par with allegorical stories of spiritual illumination stating that only the true of heart will reach that higher state of being.

Other than Elizabeth, another non-human character survived, David the Android.

Towards the end of the movie, David gets his head cut off but, since he’s a robot, he stills functions. Elizabeth takes the head and continues her journey, symbolically meaning that she needs pure intellect and technology to reach enlightenment.

David has great intellectual capacity, making him believe that he is superior to his human colleagues. Despite this fact, he is nevertheless crucial to Elizabeth’s quest – a subtle message stating that transhumanism is important in human evolution.

At the end of the movie, David does not understand why Elizabeth desires to continue her search for her creators. The difference is that she has a soul and he doesn’t. It is for this reason that she put back the cross around her neck. Her quest is not simply a space mission, it is a spiritual pilgrimage to discover where she comes from.

In the final scene of the movie, Elizabeth decides to not go back to Earth (representing materiality and the lower self) and continues to search for the Engineers (representing illumination and godhood). Her quest is therefore not over … and there might be a sequel.

While most moviegoers probably stepped out of the Prometheus thinking that it was a “decent alien movie”, digging a little deeper into its meaning and symbolism reveals an entire other layer of interpretation. Drawing inspiration from the Ancient Astronauts theory, Prometheus proposes a radical rewrite of history and theology, one that makes humanity a product of extra-terrestrial “creator gods”. The movie also intermixes this quest for scientific knowledge with spiritual and metaphysical questions, making this story not only about angry aliens, but about timeless existential questions.

As the title of the movie suggests, the story of humans going into space to find their creators has an underlying esoteric meaning, as it can be interpreted as a metaphor for spiritual enlightenment. The Titan Prometheus is a central figure in occult mystery schools, an archetypal figure of a “rebel from above” that brought divine knowledge to humanity – with all the benefits and pitfalls it engenders. Occult secret societies believe that this knowledge provides the path back to divinity. The same way the spaceship Prometheus leaves earth to find the Engineers, occult initiates look to leave the material plane to reach illumination and “be one” with the Great Architect of the Universe.

That being said, is there any truth to the many stories and mythologies referring to a divine figure coming from above to impart knowledge to humanity? Do the figures of Prometheus, Lucifer, and the Watchers of the Book of Enoch have factual basis to them? Is there an “outside” source for humanity’s advanced and esoteric knowledge? Was there once a Nephilim-type “super-race” on Earth helping humanity develop itself, but ultimately corrupted it? Is this the “missing link” in human evolution? Is it the reason why humanity is self-destructive and somehow out-of-synch with the rest of the planet? Does this outside source come from aliens as suggested inPrometheus or from fallen angels and/or demons as written in ancient texts? Is this outside source behind the teachings of secret societies and behind … the Illuminati?

I agree with your face, Keanu. Whoa, indeed. (you know, I'm a 9gager)

Jimmy Savile Was Part of Satanic Ring; Other BBC Star Stuart Hall Charged with Sexual Abuse on Children (PART 1)

In the past months, we’ve seen an incredible amount of information surfacing regarding Jimmy Savile and his decades of sexual abuse. Savile was not just a deranged molester, he was part of a large, organized and elite-protected network that systematically abuses and traumatizes children for its own twisted ends. Satanic Ritual Abuse (SRA) is practiced in closed elite circles and is one of the basic techniques used in Monarch Mind control. The following article from the Sunday Express describes the ordeal suffered by two victims.

JIMMY SAVILE WAS PART OF SATANIC RING

JIMMY SAVILE beat and raped a 12-year-old girl during a secret satanic ritual in a hospital.

The perverted star wore a hooded robe and mask as he abused the terrified victim in a candle-lit basement.He also chanted “Hail Satan” in Latin as other paedophile devil worshippers joined in and assaulted the girl at Stoke Mandeville Hospital in Buckinghamshire. The attack, which happened in 1975, shines a sinister new light on the former DJ’s 54-year reign of terror.Savile, who died aged 84 in October 2011, is now Britain’s worst sex offender after police revealed he preyed on at least 450 victims aged eight to 47.The girl kept her torment hidden for nearly 20 years before finally opening up to therapist Valerie Sinason.Dr Sinason told the Sunday Express she first spoke to the victim in 1992. “She had been a patient at Stoke Mandeville in 1975 when Savile was a regular visitor.“She recalled being led into a room that was filled with candles on the lowest level of the hospital, somewhere that was not regularly used by staff. Several adults were there, including Jimmy Savile who, like the others, was wearing a robe and a mask.“She recognised him because of his distinctive voice and the fact that his blond hair was protruding from the side of the mask. He was not the leader but he was seen as important because of his fame.“She was molested, raped and beaten and heard words that sounded like ‘Ave Satanas’, a Latin­ised version of ‘Hail Satan’, being chanted. There was no mention of any other child being there and she cannot remember how long the attack lasted but she was left extremely frightened and shaken.”Savile was a volunteer porter and fundraiser at the hospital between 1965 and 1988 and had his own quarters there.

Five years after the hospital attack, he abused a second victim during another black mass ceremony held at a house in a wealthy London street.

The woman was 21 at the time and was made to attend an orgy, which later took on a darker twist.

Dr Sinason, director of the Clinic for Dissociative Studies in London, said: “A second victim approached me in 1993. She said she had been ‘lent out’ as a supposedly consenting prostituted woman at a party in a London house in 1980.

“The first part of the evening started off with an orgy but half-way through some of the participants left.

“Along with other young women, the victim was shepherded to wait in another room before being brought back to find Savile in a master of ceremonies kind of role with a group wearing robes and masks. She too heard Latin chanting and instantly recognised satanist regalia. Although the girl was a young adult, who was above the age of consent, she had suffered a history of sexual abuse and was extremely vulnerable.”

Both victims contacted Dr Sinason, who is president of the Institute of Psychotherapy and Disability, while she was involved in a Department of Health-funded study into sexual abuse committed during rituals and religious ceremonies. She said: “Both these witnesses did speak to police at the time but were vulnerable witnesses and on encountering any surprise or shock did not dare to give all the details.”

The police took no action.

Dr Sinason added: “Savile was still a huge celebrity in the early Nineties, let’s not forget, and there was never any action taken against him or any of the others involved.“Neither girl knew one another, they lived in different parts of the country and contacted me a year apart yet their experiences are very similar. Whether Savile was a practising Satanist or merely enjoyed dressing up to scare his victims even more will perhaps never be known but he left those two girls mentally scarred.”

Dr Sinason has passed details of the abuse to officers from the Savile inquiry, Operation Yewtree.

A joint report published on ­Friday by the Metropolitan Police and the NSPCC uncovered at least 30 claims of abuse at Stoke Mandeville.

The hospital said it was unable to discuss individual cases while its own “Speaking Out” investigation was ongoing.

Anne Eden, chief executive of Buckinghamshire Healthcare NHS Trust, said: “As the investigation’s name suggests, it is very keen to hear from anybody with any knowledge that they feel could help its work or anybody that needs support because of Jimmy Savile’s alleged behaviour.”

- Source: Sunday Express

Yes, you have read correctly. Satanic Ritual Abuse was happening right in government-owned NHS Hospitals. Eerily enough, a few months before this scandal surfaced, the bit on the NHS oddly referred to child abuse and trauma-based mind control. I guess it was truly the elite celebrating its abuse of children within NHS buildings.

During the 2012 London Olympics Ceremonies, the NHS was “celebrated” in a disturbing way, by showing helpless children being terrified by dark forces. The show ended with a strange giant baby with a “fracture” on its forehead.

Sandy Hook Survivors Are Made to Sing “Over the Rainbow” to Commemorate the Shooting

Some of the children who survived the Sandy Hook school shooting recorded a version of Judy Garland’s song Over the Rainbow, one month after the massacre. In one big media event, these young children were brought to a recording studio and made to record the song, all under the never-ceasing clicks and flashes of cameras. They then went on to perform the song on Good Morning America. The song is now on sale iTunes and Amazon.

While news sources describe this event as a “emotional healing process”, there are quite a few strange facts about this “event”. The most obvious one is: Why are these children being exposed to the public in such a way? Why are they pushed in mass media spotlight? Why are they in a recording studio with music industry people looking for publicity and made to sing a song that almost “embraces” what happened? Why isn’t this “healing process” happening in private, with friends and family? Why are iTunes and Amazon involved (yes, the song will be sold on these services for “charity” – the new word to justify exploitation)?

This is however not the most troubling part of this story. Considering the context surrounding the massacre and the possibility that the perpetrator was under mind control, the song choice Over the Rainbow is quite telling and, sadly, quite appropriate. As I stated in several other articles, the movie The Wizard of Oz and the song Over the Rainbow are major tools used by Mind Control handlers to program their slaves. Through violence and trauma, slaves are encouraged to dissociate from reality and are told to go “Over the Rainbow”.

“Dorothy is looking for a place where there is no trouble which is a place “over the rainbow.” To escape pain, alters go over the rainbow.

Over the rainbow in Oz is for the Monarch slave to be in a trance, and into a certain area of the programming. To be fluctuating at both ends as an observer and not a participant or to go to the other extreme and become a participant. The theme song of the movie goes, “Somewhere over the Rainbow…there’s a land where the dreams that you dare to dream really come true.” These lyrics are a method to hypnotically confuse the brain to perceive that the “over the Rainbow experience” (which is usually horrible abuse) is a “dream”. The dissociative mind is only too happy to call the trauma a dream, which is lived as a reality for a moment, but is nevertheless recorded by the mind as a fantasy. The term for this is cryptoamnesia, which means the process where the proper functioning of memory is hypnotically messed up. The slave’s internal world becomes “reality” and the external real world becomes the Land of Oz which is perceived as make-believe.”
- Fritz Springmeier, The Illuminati Formula to Create a Mind Controlled Slave

So, in short, to “commemorate” a shooting that was carried out by a MK patsy, survivors of the shooting are made to sing (because this wasn’t of their own initiative neither was it their song choice) a song that is used to program MK slaves. All of this in one big staged media event, where the children are asked to smile and pose for the cameras. How about not exploiting these kids for BS charity and not making them further part of this horrifying ritual that was the Sandy Hook shooting?

Here’s an article about the event.

A song for Sandy Hook: Watch the children who survived school massacre’s heart-breaking recording of Over The Rainbow in memory of their lost friends and teachers

• The children, aged six to nine, recorded the Judy Garland classic on January 14
• Song released on iTunes and Amazon today with proceeds going to United Way and Newtown Youth Academy

This is the heartbreaking video of the survivors of the Sandy Hook shooting as they sing Over The Rainbow in memory of the friends and teachers they lost.

The 21 elementary school children, aged between six and nine, gathered together to sing the Judy Garland classic for charity and mark the one-month anniversary on Monday.

Some of the children had been inside the school in Newtown, Connecticut when a gunman opened fire, killing 20 children and six teaching staff on December 14.
The students appeared with singer-songwriter Ingrid Michaelson on Good Morning America today. They recorded the song at the home of two former band members of Talking Heads. The track went on sale today on Amazon and iTunes, with proceeds benefiting a local United Way and the Newtown Youth Academy. Kayla Verga, ten, says she sang for her friend, Jessica Rekos, who was killed at Sandy Hook. She says it feels like Jessica is beside her, singing along with her.

The song was recorded at the home of musicians Tina Weymouth and Chris Frantz, who performed with bands Talking Heads and Tom Tom Club. The Song for Sandy Hook was recorded at the couple’s home studio in Fairfield, Connecticut while parents looked on. The little girls wore green ribbons in their hair and pinned to their sweaters to remember their friends and teachers.

Mr Frantz told the Daily News: ‘It was emotional, absolutely. But the kids were resilient. They loved to sing and they were good at it.’

Source: Daily Mail

Emeli Sandé’s “Clown”: A Song About Selling Out to the Music Industry?

It was my favourite song until I checked the video!Emeli Sandé’s video “Clown” is simple, subtle and artistic but nevertheless conveys a very clear and disturbing message about the music industry and those that rule it. Is “Clown” about Emeli Sandé “selling her soul” to the elite? We’ll look at the meaning of the song and music video.

Emeli Sandé is an English-born Scottish singer whose album Our Version of Events became the best selling album of 2012 in the UK. With three number one singles and widespread critical acclaim, Sandé is set to win a slurry of awards in 2013 and possibly more recognition “across the pond”. Did her recent success come with a hefty price tag? Judging by the message conveyed in her single Clown, yes, yes it did.

It certainly doesn’t take much analytical effort to understand that Clown portrays the music industry as a monolithic, coercive and even dangerous entity, lead by powerful people who demand nothing less than total submission from their chosen artists. In exchange for success, a damning contract (akin to an oath) must be signed that not only leads to relinquishing creative control, but, on a higher level, relinquishing an artist’s very soul. Is this why Sandé became an important part of the London Olympics’ Ceremonies, where she sang in a disturbing segment entitled “Abide With Me”, which told the story of a young child giving away his soul to a malevolent entity? Maybe. Let’s look at the video.

Clowns Get No Respect

Clown is pretty much the opposite of most of the videos I describe on this site. There is no migraine-inducing fashion, no super-futuristic dance moves and no symbols being flashed every 3 seconds. Yet, in the end, the same dark reality is conveyed and the same elitist group is being acknowledged and referred to.

The video is shot in black and white, in the style of silent films of the 1920s. All of the action takes place in a single setting, a kind of meeting room where it seems important issues are being discussed. On one of the walls we read the words “Anywhere in the world and solar system”. These words often appear on music industry contracts as a way of defining the true reach of it in case of legal issues. Also these words give this meeting room an ethereal dimension, one that transcends time and place.

The decisions being made seem to have a weight that supercedes any regular political or national entity. There are men in military uniforms resembling those worn during the reign of Hitler or Mussolini, though the racial diversity of this panel indicates that we are not looking at a traditional fascist government, but at something of a “higher level”, hence the words “Anywhere in the world and solar system”. Put another way, the video appears to refer to a dictatorship evolving on a supra-national level, such as maybe …  the Illuminati and the NWO?

Emeli taken in by two soldiers

The video begins with a strange scene: Emeli enters this room escorted by two soldiers as if she were a prisoner, yet she is greeted with warm applause from around the room. Right from the start, the video describes the contradiction of being a star in this day and age: influential and revered by the masses, while still completely in submission to higher powers. The applause Emeli receives is almost sarcastic, as if saying “We are applauding you like your fans do — but we still own you”.

Emeli is then presented with something that represents the dilemma of anyone who wants to make it big in the music industry.

Emeli is given a pen in order to sign a contract.

Before any words are even exchanged between the men and Emeli, the singer is expected to sign a contract. As we see by her reaction, this is not an ordinary business contract, but a document that will heavily impact the rest of her life. Signing this document equals relinquishing some of her rights, freedoms, creative control and … her soul?

Emeli refuses and says “No”. Immediately, the men in the room show signs of impatience and become more forceful. One of the men steps up to her, tells her “Please, you must reconsider” and makes her sit down.

As a man steps up to Emeli, she gives a look saying “Why you touching me for?”

We then see other gestures indicating that Emeli’s physical integrity is being violated. While these actions are somewhat subtle in the video, they are a symbolic way of referring to the physical and psychological violence stars can be subjected if they do not fully comply to the elite’s will.

Emeli is given the paternal “look at me when I’m talking to you” move by a man in uniform.

She is also gets lectured and talked down as a menacing finger is being wagged at her.

Emeli is treated with the typical speech that is given to artists to convince them to sign a contract. She is told to take advantage of this rare opportunity to be rich and famous. We quickly get a sense that, if she refuses to sign with these people (the elite), she will never “make it” because they are basically the only path to celebrity, that there is apparently no way of making it big in the music industry but signing with this monolithic entity that is controlled by a closed group of individuals.

The men tell Emeli:

“You have great talent, and the brightest of futures. All we require is your consent”.

To which she replies:

“You mean my surrender.”

This implies that the contract is indeed one that forces Emeli to submit to the powers that be and to become a virtual puppet, or a clown. One man then replies:

“We mean your co-operation”

This means that they want Emeli to willfully accomplish what is expected of her, even if she realizes that it goes against what she believes in … which is the meaning of “selling out”.

When Emeli says

“I want freedom, to be myself”,

a man promptly replies:

“What use is freedom … if you live in the gutter”

flaunting the prospect of material gain, and loss, in order to get her to sign the contract.

As she continues to hesitate, the men get angrier and start yelling at her. At one point, a man says “We need a decision” and a vote gets taken, although Emeli does not get a vote. By show of hands, the men decide what to do with Emeli. With a single gesture, one man sums up her fate if she doesn’t sign the contract.

By running his hand across his throat, this man is saying that Emeli’s career is over. Also, since these men are in uniforms and that Emeli is a prisoner, she will probably be killed … Maybe in “strange circumstances”, not unlike many other uncompromising artists.

In short, if she does not accept the terms of the contract, these men will kill her. She is then reminded of the opportunity she is passing up:

“Success is impatient. You audience is waiting.”

When presented again with the pen and paper, Emeli grabs the pen and begins singing the chorus of the song, confirming that she accepts the terms of the contract.

“I’ll be your clown
Behind the glass
Go ‘head and laugh ’cause it’s funny
I would too if I saw me
I’ll be your clown
On your favorite channel
My life’s a circus-circus
rounding circles
I’m selling out tonight”

The song’s lyrics describe the sadness of an artist who has been reduced to the status of a clown, a puppet that is told what to do in order to obtain material gain. As depicted in the video, the song’s lyrics also convey the fact that she was forced into this contract, which is, when all is said and done, nothing more than glorified exploitation.

“I’d be less angry if it was my decision
And the money was just rolling in
If I had more than my ambition
I’ll have time to please
I’ll have time to thank you as soon as I win”

At the end of the video, Sandé signs the contract (although we don’t actually see her do it) and is taken away by the soldiers. It would seem therefore, that this is yet another story of free will, freedom and integrity being forcefully taken away through coercion and power. It is another story depicting the victory of evil against good, of darkness against light. It is another “victory speech” of the Illuminati industry, blatantly showing off how it controls the industry, to the point that it makes its “clowns” sing about their own sad state of puppetry. While Emeli Sandé is arguably more talented and mature than most pop stars, Clown does not convey a message that is very different from what we have seen on this site. The only difference is that this song is aimed for the adult contemporary market, rather than the tween market. Why Emeli, just why???