BY VC
THE illuminati Agenda in popular culture has become a worldwide phenomenon and it hasn’t spared Eastern Europe. Doda’s “Bad Girls” and Vintage’s “Trees” are two examples of very symbolic music videos that are extremely popular in Russia and Poland. We’ll look at these two video and see how their symbolic content is completely on-par with the world elite’s agenda.
What is called “the Illuminati” functions on a global scale, so it is only natural that its propaganda machine is also deployed on a global scale. While the American and British artists reach most of the world, “regional” stars are also used to propagate the elite’s Agenda to specific ethnic groups.
Previous articles on Vigilant Citizen have described the Illuminati symbolism found in music from Korea, Japan, Latin America and Russia. Despite the difference in culture and language between these countries, today’s globalized mass media machine manages to expose the entire world to a specific Agenda and to a precise set of symbols.
Eastern Europe is obviously not exempt from the media machine. Not unlike the rest of the world, pop stars are often handpicked, signed to international record labels and put in the spotlight using videos that are in line with the Illuminati Agenda.
In this article, we will look at Doda’s “Bad Girls” and Vintage’s “Trees”, two videos that, despite their limited market, have managed to get a lot of airplay and millions of YouTube views. Although not in the same language, both videos are a direct reflection of the philosophy and the goals of the Illuminati and act as a kind of “local distributors” of the elite’s Agenda. Let’s look at the message of these videos.
Doda’s “Bad Girls”
At first glance, one would be tempted to qualify Doda as a “bimbo”. And her first album cover would probably agree with you.
Doda's first album cover entitled "Bimbo" while she was in the group Virgin.
However, Doda is an extremely popular and influential figure in Poland. In fact, CNN ranked her as as the tenth most famous Pole in history. Yes, in HISTORY. That list includes Pope Jean-Paul II, Copernicus and Marie Curie.
Furthermore, the Polish magazine Viva! placed her among the ten most influential women in Poland. Not bad for a bimbo. She also has a knack for creating controversy. In 2010, she caused quite a stir when she stated that the Bible was written “by people who drank too much wine and smoked herbal cigarettes”.
Doda’s popularity and sex appeal made her a perfect choice for Illuminati propaganda. After a few albums with the rock band Virgin, Doda began a solo career as a pop singer and her album, the Seven Temptations, appear to have all of the hallmarks of a true Illuminati piece.
The video, “Bad Girls”, reads like an Illuminati for Dummies: Polish Edition book, cramming into its few minutes of musical horror a complete array of messages. Some might say: “The Illuminati Agenda exists in the U.S., but not in Poland” and so forth.
Well, Doda is signed with Universal Music, one of the five media conglomerates that distribute mass media across the world. It owns labels like Interscope, Geffen, A&M, Defjam, Island and Motown. She is therefore part of the elite’s system and was apparently chosen to be the Illuminati’s representative in Poland.
Bad Girls
The video takes place in a setting that the Illuminati loves: A futuristic dystopian police state. Cameras and “tele-screens” everywhere, police in riot gear and a faceless ruler: This imagery is present in pop videos around the world.
The “hero” of the story is Doda, a half-human half-robot, who emerges from some kind of transhumanist scientific lab. The promotion of the merger of humans and robots is a staple of the agenda, as seen in the article “The Transhumanist and Police State Agenda in Pop Music”.
The elite's preferred way of depicting their pop stars: Half-robots kept alive by a gigantic machine. The other "Bad Girls" are also attached to the machine.
There’s an English version of the song but the lyrics are kind of … nonsensical. However, they still manage to convey the fact that she’s “down with the dark side”.
“I know my way of my Babylon
All demons know, my booty show
Girl dress to kill I’m hell on heels
So come with me, we’ll go oh”
After blasting their way out of the lab, Doda and her girls then meet up in a restaurant that apparently serves humans: Another example of making dehumanization “cool” in music videos.
This restaurant is decorated with humans the same way steakhouses are decorated with cows. How engrossing.
In this restaurant for cannibals, Doda and her “bad girls” plan their attack on the big boss of the city.
The girl on the left has one eye hidden. Yes, Polish people also need to be exposed to this Illuminati One-Eye crap.
However, the meeting is interrupted by police in riot gear – a common sight in elite-supported videos (see the article entitled The Transhumanist and Police State Agenda in Pop Music).
Getting young people used to the sight of police in riot gear is an intricate part of the Illuminati Agenda in mass media.
When Doda sees the guards, she basically loses it and kills them with an animal-like scream (or something of the sors). Most people would be satisfied with such a result, but not Doda. She goes to the morgue where the dead guards are found and … gets sexy with one of them.
After cannibalism, necrophilia. I do not sense a lot of respect for human dignity in this video.
After she’s done with the dead guy, a strange phrase appears on his chest, one that appears to sum up the culture of death mass media keeps pushing on the world: “No Death, No Fun”.
"No Death, No Fun" ... is this the slogan of the occult elite that has plans for massive depopulation and enjoys ritual sacrifices?
Doda’s desecration of a dead body is not over. She accomplishes a symbolic gesture that confirms who is behind the message of the video.
Doda takes out one of the guy's eyes. Again, we have a reference to the "one-eye" symbol.
Doda uses the guard’s eye go past the security system that protects the access that leads to the King of the City. After a corny fight scene, Doda “overthrows” the King of the City and sits at his throne. A pill then emerges from her hand and, looking at the camera, Doda says “Try Me”.
Doda shows the viewers the pill they must "swallow" - symbolizing the doctrine they must accept - while urging them to "try her".
The sign on the pill has a heavy meaning. It is the symbol of Mercury, who is also known as Hermes - the "chief god" of the occult elite.
Usually, the bottom part of the symbol resembles a plus (+) sign however, in this case, one extremity has been elongated, making the sign look like an inverted cross - a symbol used in Satanism.
We therefore have a devil head sitting atop an inverted cross. Can't get more blatantly symbolic than that.
Doda’s overthrow of the King of the City can also be interpreted on a personal level. Since the video is very “anatomical”, the action of the video could happen inside a person’s body and mind. In this context, Doda and her girls, who were conceived in government labs, represent the Illuminati agenda that was conceived and calculated in elite think tanks. The message is inherently poisonous (hence “Bad Girls”) but is disguised as something sexy and attractive.
Doda (representing the propaganda) goes through the viewer’s eye (represented by the poking out of the guard’s eye) in order to access the brain – represented by the King of the City. She overthrows him and sits at his place, which represents a successful fight against the mind. Doda then asks the viewers to try her “Bad Girls” pill.
Therefore, in short, the same way Doda emerges from a lab and takes over the city, Illuminati propaganda emerges from think tanks and seeks to take over the masses’ brains through mass media. Popular culture promotes corrupt and debasing values, degrades human life and pushes transhumanism because this is where the elite want to take the world. Will you be swallowing the pill?
Vintage’s “Trees”
If Doda’s “Bad Girls” is a big, loud, heavy-handed and darn near offensive display of symbolism, Vintage’s “Trees” is a much more soothing experience. The subtle symbolism is, however, all the more powerful.
While the video appears to be just another other semi-spiritual, pseudo-esoteric and vaguely sensual music video (see Madonna’s “Frozen”), this one, when carefully decoded, has a heavy symbolic meaning: It describes the coming of a “new era” … but not before heavy tribulations.
As seen in the article entitled Mind Control Symbolism in Russian Pop: Vintage’s “Mikkie”, the group has already produced Illuminati-heavy music videos. That being known, is it surprising that the group’s latest video depicts the ultimate goal of the occult elite, namely the creation of a New World Order? Let’s look at the video’s most symbolic scenes.
Anna in a red dress - the ritualistic color of initiation and sacrifice.
The video begins in a dry and windy desert. Everything in the scene is in monochrome except for Anna’s dress, which is bright red. As we’ve seen in several previous articles, red clothing represents initiation and sacrifice. Anna walks towards a pyramid made of half-naked people who appear to be mesmerized by a mysterious source of light.
The people that make up the pyramid seem to be revering a light at the apex of the pyramid. The source of that light is unknown ... for now.
This pyramidal shape and its glowing capstone are very similar to a symbol many of you might be familiar with: The pyramid and All-Seeing Eye of the Great Seal of the United States – the main symbol associated with the occult elite, the Illuminati.
Does the pyramid and lighted capstone in Vintage's video refer to the Great Seal of the USA - which represents the unfinished "Great Work" of the occult elite?
While the pyramid in Vintage’s video is very similar to the one on the Great Seal, there is a notable difference between the two: The one in the video is made of people. These people blending together to form the base of the pyramid represent the masses, which is the true source of power of the elite.
Without the compliance (and ignorance) of the general population, the “Great Work” of the elite – a New World Order – would never happen. The people in the pyramid are very cattle-like, acting like lascivious zombies who are subject to their basest instincts.
Inside the pyramid is basically one big orgy - which goes in line with the elite's view of the masses: A big herd of animals that need to be kept distracted and under control.
A recurrent scene in the video appears to refer to the occult powers of sexuality, whether it be for illumination or manipulation.
Anna is sitting in a "chakra activation" position and performing a gesture reminiscent to Baphomet's "As Above so Below" hand sign. Behind Anna is an inverted triangle, a symbol that occultly represents the feminine.
The combination of all of these images, and, of course, the lips, point towards Sex Magick - a tool used by occultists for enlightenment, but that can also be used to control and manipulate.
Eliphas Levi's depiction of Baphomet in the same "chakra activation" position and performing a similar handsign.
The video then goes “underground”, where an important process occurs: The impregnation of Anna.
Below the ground, Anna is dressed in black (color of death and rebirth) and is tied up. She is surrounded by a bunch of nasty looking guys who are about to do nasty things to her.
In the following scene, we see the result of this simulated gang bang: A pregnant Anna posing in a way similar to the classic painting “Birth of Venus”. We then see a countdown from the year 2012 to the year zero, which is associated with the birth year of Jesus Christ.
Anna is shown pregnant and on top of the world while the years countdown to the year zero. Who will she give birth to?
When the countdown is over, a figure appears at the top of the illuminated pyramid:
Anna appears with a crown of thorns, dressed in white
Is this the second coming of Christ … or the coming of the anti-Christ? This new figure is definitely not the result of an “immaculate conception” as her conception happened while she was tied up and raped in a hellish, underground setting. The Christ figure is nevertheless revered by the masses. Anna-Christ then raises her hand and causes a great deal of death and destruction.
As the Christ figure raises her arm, civilization in its entirety appears to collapse.
Many people from the masses die from the tribulations - a fact that Anna-Christ doesn't seem to care about and that Anna in red almost celebrates.
After the period of “tribulations” is, a New World (Order) can start to grow.
After the death and destruction caused by Anna-Christ, the video ends with new life emerging from the ground.
This video is symbolic on several levels. It combines history, civilization and spirituality in a tale of initiation, death and rebirth. Atop an illuminated pyramid, a spiritual leader appears at the year zero – which denotes the beginning of a new Age, a new era or a new aeon – shakes up the entire world. While this figure appears to be the second coming of Christ, those who are acquainted with the Book of Revelation might notice that this new leader, which was conceived in an underground pit, bears many similarities to the Bible’s description of the Antichrist (also referred to as “the Beast”).
“The beast, which you saw, once was, now is not, and will come up out of the Abyss and go to his destruction. The inhabitants of the earth whose names have not been written in the book of life from the creation of the world will be astonished when they see the beast, because he once was, now is not, and yet will come.”
- Revelation 17:8 (NIV)
As we have seen in previous articles (i.e. the article on the movie Metropolis), the Illuminati places a great importance on the Book of Revelation and its telling of the Apocalypse. The esoteric interpretation of this Biblical enigma associates it with the end of the Age of Pisces and the beginning of the Age of Aquarius.
On an occult level, the process shown in the video can be compared to the steps of the Great Work of Alchemy: Nigredo, Albedo and Rubedo (translated to Blackening, Whitening and Reddening). These are the three alchemical steps to turn a crude metal into gold and, on a spiritual level, to turn a profane person to an illuminated person. These steps are represented by Anna’s clothing. In alchemy, the step of Blackening involves the putrefaction and decomposition of a body into its primal matter in order to create new life and is associated with “the difficulties man has to overcome on his journey through the underworld”. Anna was dressed in black in the scene where she was in an underground pit and “being consumed” by men. The process of Blackening leads to the birth of a new life, which is the step of Whitening – represented by Anna-Christ dressed in white. The final step, the Reddening, is manifested when man is master over both the physical as the spiritual world and is represented by Anna in red, the initiate who is the center focus of the video.
The world elite often represents its plans towards a New World Order as an alchemical “Great Work”. An example of this can be found on the Murals in headquarters of Bank of America (see the article Analysis of the Occult Symbols Found on the Bank of America Murals). According to their philosophy, the entire world can be subject to the same alchemical transformation that is applied to a single individual. The process would undoubtedly involve a lot of death and destruction but that appears to be “part of the plan” (as portrayed by the dead bodies found in the video). Is this why the coming of an Antichrist is portrayed in a positive way in the video?
In Conclusion
Doda’s “Bad Girls” and Vintage’s “Trees” are two very different videos, yet they have an important thing in common: they both portray critical parts of the Illuminati Agenda in mass media.
While the first video is a perfect example of how popular culture aims to debase the masses with self-destructive values, the second describes the “grand scheme of things”, according to the elite’s philosophy.
These two videos are just two examples of the Illuminati’s efforts to expose the entire world to its Agenda and symbolism. Through veiled tales of initiation and transformation, the masses unconsciously witness, via “entertainment”, celebrations of their own demise.
In the same way that the people in Vintage’s pyramid revere an unknown source of light, the masses idolize stars that work for an unseen elite. Will the masses be one day indoctrinated enough to welcome a “saviour” that will appear at the top of the Illuminati’s pyramid? Only time will tell.
source THE VIGILANT CITIZEN
