‘In this edition on SPOTM: Ashley Graham, Buzz Aldrin, Bella Hadid, and Jim Carrey’s highly symbolic paintings.’
‘While Praying is said to be a “liberating” song that addresses Kesha’s painful past with her producer Dr. Luke, the video tells a whole other story. Indeed, through symbolism, the video implies that Kesha is still an industry slave … because that’s what she actually is.
For years, Kesha has been displaying all of the “symptoms” of a music industry slave. At an early age, the singer got locked into an airtight contract with Sony Music, under Dr. Luke’s label Kemosabe. Since then, she’s had little to no control over her professional career and personal life.
Like most industry slaves, Kesha’s work has been replete with elite symbolism and infused with a foul, dehumanizing agenda. For example, her 2012 video Die Young (analyzed in this article), featured the singer repeating “We’re gonna die young” as satanic images flashed on screen. The entire thing was so blatant that even mainstream magazines such as Billboard had to admit that the video was all about Illuminati symbolism:’
‘Since its release on May 25, 1977, Star Wars – now known as Episode IV: A New Hope – has inspired millions of followers across generations. The film has stood the test of time, but the original circumstances of Star Wars’ creation, and the film’s deliberately constructed relationship with US history, have become obscured.
It seems unthinkable that Star Wars was a film that studios did not want. George Lucas’s treatment was rejected by United Artists, Universal and even Disney – ironic given the $4.05 billion they paid for the franchise in 2012. Though 20th Century Fox picked up the project, it was Lucas they wanted, not Star Wars.
The deal Fox and Lucas made was unusual. Lucas’s previous movie American Graffiti had been such a hit that Lucas could have raised his fee, but he chose not to. Instead, he negotiated a deal which gave him merchandising and sequel rights in what was a pivotal moment for the industry, establishing the practice of merchandising.’
‘Local legends about the Sansevero Chapel of Naples claim that the astonishing works of art it contains are the result of sorcery and black magic. The sculptures appear impossible to create by hand, while a macabre display featuring two actual human bodies is said to be the result of ritual killings. Also, adding to the occult aura surrounding the chapel, it is filled with Masonic symbolism.
At first glance, Capella Sansevero is your typical Italian chapel from the 17th century, tastefully filled with paintings and sculptures of a religious nature. However, a closer look at the various items in the chapel reveals that something is “off” about this place. Some sculptures are so “organic-looking” that they lead many to believe they were the result of a supernatural process. Furthermore, the enigmatic symbolism found around the chapel heavily hints to an allegorical esoteric message.’
‘Terrorism is part of the new zeitgeist, and it serves a litany of political and social objectives for government, as does occult symbolism which is introduced to our culture by Hollywood and the beta kittens of the Illuminati-controlled music industry.
Symbolism and Sacrifice
In the case of the recent Manchester attack, the intriguing matter of Illuminati sybolism is overtly present, given the fact that the attack took place at an Ariana Grande concert, a performance artist who is unquestionably part of the Hollywood/Illuminati cult of mind control and social engineering.
This is the segment of pop culture which includes the network of over-sexualized young celebrity women trained to perform self-demeaning and occultish acts for enormous audiences. These are the ‘artists’ who receive the most support from the music industry, the greatest production budgets, the most airplay, the most press and the most gossip. These are the artists who are often seen adorned in Illuminati symbolism and often photographed with one eye covered in homage to the ubiquitous image of the all-seeing eye at the top of the pyramid.’
‘Words, or logoi, form the basis of all reality. I have written many times and even lectured on the doctrine of St. Maximos the Confessor concerning the archetypal patterns or logoi that form the divine ideas that undergird all reality. All these logoi are one in the Logos, and ultimately give all distinct objects their meaning and unity. The logoi become a unifying, objective metaphysical principle in the divine Person of the Logos. This is why Genesis 1 describes God speaking and creating through His Logos. What is interesting about the recent philosophically-focused science fiction film Arrival is that, while scratching and floundering around in the dark, it hits upon this issue – and predictably provides an incoherent, inconsistent solution, as we will see.’
‘Packed with imagery associated with secret societies and the occult elite, Nicki Minaj’s “No Frauds” video is a tribute to the secret rulers of the world.
There is also a troubling coincidence relating to this video: It was filmed on Westminster Bridge only days before the terrorist attack.
Nicki Minaj’s song No Frauds is primarily a diss track aimed at Remy Ma who released, a month prior, SeTHER, a diss song unrelentingly insulting Minaj for seven minutes.
At one point, Remy Ma even takes the gloves off and mentions Nicki Minaj’s brother who is a convicted child molester.’