Part 99 - The Sodomite Gateway - Organized Crime's Don Stars in 'Singin' in the Rain'

I had left off describing how the protective cover on SRA and most particularly the Illuminati programmers activity is maintained, as illustrated to us by scenes in the musical, “Singin' in the Rain.” (The first post about this film was Part 94.) This musical is an Illuminati vehicle that brags and gloats about the success of their schemes.

The elite go to great lengths to conceal what they do and how they do it, so it may seem ironic that this is just what they reveal to us in mass media, in the most public and accessible ways. Yet, this manner of revealing is simply part of the cover mechanism. What they do is a little like sending a message in Morse code out over the airwaves, encrypted, but most of us don't recognize “Morse code” or even believe in it, and can't accept that anyone would even be sending coded messages. “Messaging system? What messaging system? We don't see any messaging system!” Security by obscurity is extremely effective, but once a messaging system is discovered, the encryption has to be dealt with before the message can be read. Are you getting this? The reason their work is done in secret is because the masses wouldn't stand for it if they knew. The point of you and I knowing is not to enable us to put a stop to it directly. The sovereign Lord has a plan, you see, and there will come an end to this evil, but in His way and only at the right time. Until then, it is a necessary work to have some effective intel, a window of insight into the Adversary's kingdom work.

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves. ~ Matthew 10:16

If you use two monitors, you may find it helpful to open the video in one while you read this post in the other: "Singin' in the Rain" 1952 ~ Gene Kelly



If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway If you want a little more help understanding symbolism, I recommend starting here and working your way through the blog, which develops as a course of instruction.

I'm going to begin right where I left off, continuing to describe the same scene where the fencing, crosses and shutters at the Richard Carlane Music Studio reveal the workings and workers of the security system. This entire scene only takes about 20 seconds to play out, spanning about 2:43-3:03 in the clip. It's rich!

When we see the redundant symbols that identify the Freemasons and their protective services there is a point at which we have to bring organized crime into the discussion. SRA programming activity is criminal. Murder is illegal, and that's required for ritual sacrifice. Rape is illegal, and kidnapping, and child abuse, and on goes the list. They are in the crime business and they are organized.

The lead character's name is Don. What is a Don but a crime lord, a mob boss? That connection is just as important as the one made to Don Quixote.

So, this scene at the Music Studio is about protection, right? The Mafia engage in what's called protection racketeering. Their enforcers are fearsome. It doesn't take much effort to discover historical connections between the Mafia and the Masonic orders of the Knights. The Knights are the enforcers for the Jesuits and for what are considered the Illuminati. It appears that they run the protection racketeering business. They leverage intimidation, extortion and blackmail. They oversee illegal business activity like drug running and smuggling. What's concealed and revealed in this scene of the musical is the sex trade and trafficking of children that primarily services SRA programming, where there is a constant need for ritual sex, blood drinking, cannibalism and sacrifice.

Before I show you how that's done, here's a sample of someone else's take on the Mafia-Jesuit-Knights of Malta connection. The following are some excerpts from an Interview with Eric Jon Phelps.

Phelps: “Alberto Rivera says that it was Jews aligned with the Pope who published the Protocols. [of Zion] Well, I tend to feel that it was just the Jesuits themselves because they and they alone, were the ones who were able to bring this to pass. They're the ones in the government. They're the ones behind professional sports. The owner of the Pittsburgh Steelers is a Knight of Malta. The owner of the Detroit Lions is a Knight of Malta. All your top owners of these ball clubs, for the most part, are Knights of Malta, getting the people whooped up in this hoopla over games and sports, while they're busy creating a tyranny. So, that was one of the things in the Protocols-that they would create 'amusements'. Another one they used was Walt Disney, 33rd-degree Freemason-Disneyworld, Disneyland. Another one was Milton Hersey, with Hersey Park. They create all of these amusements and games and pastimes to get the people drunk with pleasure, while they're busy overthrowing the Protestant form of government.”

Martin [the interviewer]: “Where does Las Vegas factor into all of this?”

Phelps: “Las Vegas, well, for the most part, is controlled by the Mafia. But all the high Mafia families are Roman Catholic, and they are ALL subordinate to the Pope or to the Cardinal of New York, which is Cardinal O'Connor-because the Commission, the Mafia Commission resides in New York. Frank Costello was a member of the Mob Commission, and he was intimate, personal friends with Knight of Malta, Hollywood mogul, Joe Kennedy. And that has not changed. So, the High Knights are good, dear brothers with the High Mafia Dons-the Gambinos, the Lucchese, the Columbos, all of them. And they control Hollywood, not the Jews. It's only Jews who are front-men who are involved in Hollywood and working for the Mafia and for the Cardinal, just like in politics it would be Arlen Spector. Arlen Spector was Spelly's [Cardinal Spellman's] Jew in the assassination [of President Kennedy], and he would never say a word about it.”

You have likely been following the news and noted that a Jesuit Pope has been elected, the only one in history! St. Ignatius Loyola, the founder of that order, was a Spanish soldier. Jesuits are known as “God's Marines.” See Part 80 - The Sodomite Gateway - Jesuit Values for more about the Jesuits.

What's concealed and revealed in this scene of the musical is the sex trade and trafficking of children that primarily services SRA programming, where there is a constant need for ritual sex, blood drinking, cannibalism and sacrifice, and the energy vampirism that attends the incredibly cruel abuse and torture of innocent victims. The choreography is going to present some of this but it's going to be validated by other elements. The sweet happy music makes it so unbelievable that there could be anything bad behind this, but that's a working of the magick at this Music Studio!

When you watch the video clip, what Don is modeling to us at the 2:48 minute mark is the work of a child prostitute. Don makes himself short and looks up, like a child interacting with an adult. His hand is held as a prostitute collects money for services rendered. This child is a male, as demonstrated by the erect umbrella. At 2:49, we see the services being rendered. He is no longer short. As the adult client, Don holds the umbrella to display a triangle form, holding it in both hands in front of him to suggest sodomizing the child prostitute. After prancing back across to the left he does a very effeminate dance like a little girl waving her skirt. There is, of course, a market for little girls too.

By the way, when Don does his Don Quixote impression, modeling the knight with the lance on a horse, the Knights Templar version implied is actually two men riding with a lance together on the same horse. Some might suggest that's homoerotic. Like me. And it is, of course!

The activity pictured in this scene is more than just child prostitution, its trafficking. The name of the Music Studio is like the name of the Art School, a “blind,” in Crowley's terminology. “Mount Hollywood” is a reference to the sexual mounting of the phallic wand. The “Richard Carlane” Music Studio. Think about it. The popular nickname for Richard is Dick, which is slang for a penis. A Carlane is a car lane, a highway where cars drive. That describes a dick highway, which includes what has been called the Hershey Highway and the dirt road with reference to sodomy. When cars drive in the car lane we call that “traffic.” This is a studio for dick traffic, for trafficking dick! That's what's being demonstrated here as the primary business of the protection racketeering Don!

When we take the set's fences into account, another layer of redundancy appears that lends more validation to that insight. Criminals who engage in certain kinds of activity use a fence. A fence is a buyer or seller of stolen merchandise. Look it up! It's a trusted agent who acts as a middle man between a seller and a network of buyers in black market exchanges, especially those relating to illegal goods. Like, the sex trade, for example. The Richard Carlane Music Studio pictures a front organization for child trafficking, a fence for kidnapped and illegally “borrowed” children.

At the Studio, we see potted plants behind the fences, and such things we usually refer to as gardens. Luciferian Illuminists know their Bible verses. What they do can be considered as the practice of counterfeiting, something that demands being well acquainted with the genuine. There is a passage in the Song of Solomon that uses such a symbol as the fenced in garden, and Luciferians know very well the works of Solomon.

A garden inclosed is my sister, my spouse; a spring shut up, a fountain sealed. ~ Song of Solomon 4:12

If you read the chapter it becomes very obvious that the garden metaphor is sexual and the locked up condition is an expression of virginity. Watch the clip and see what Don does against the backdrop of a “garden inclosed.” When you see him windmilling across the set, give verse 16 some consideration and what it means in the context of the child prostitution business.

Awake, O north wind; and come, thou south; blow upon my garden, that the spices thereof may flow out. Let my beloved come into his garden, and eat his pleasant fruits. ~ Song of Solomon 4:16

That's what the “Richard Carlane” dick trafficking Music Studio is about. The Knights with their Don protect the clients and all their assets and interests as they manage the supply of goods for SRA programming and sacrifice.

Some of you may want to skip over the following excerpt, which provides a reason why this trafficking has an emphasis on the virginal child, and the male in particular.

Aliester Crowley - Book 4 - Magick in Theory and Practice - CHAPTER XII: OF THE BLOODY SACRIFICE: AND MATTERS COGNATE.
“It would be unwise to condemn as irrational the practice of those savages who tear the heart and liver from an adversary, and devour them while yet warm. In any case it was the theory of the ancient Magicians, that any living being is a storehouse of energy varying in quantity according to the size and health of the animal, and in quality according to its mental and moral character. At the death of the animal this energy is liberated suddenly. The animal should therefore be killed within the Circle, or the Triangle, as the case may be, so that its energy cannot escape. An animal should be selected whose nature accords with that of the ceremony — thus, by sacrificing a female lamb one would not obtain any appreciate quantity of the fierce energy useful to a Magician who was invoking Mars. In such a case a ram would be more suitable. And this ram should be virgin — the whole potential of its original total energy should not have been diminished in any way. For the highest spiritual working one must accordingly choose that victim which contains the greatest and purest force. A male child of perfect innocence and high intelligence is the most satisfactory and suitable victim.”

Many have pursued the ways of Aliester Crowley, as he himself followed in the ancient ways as the demon gods directed. These are the ways of Satanic Ritual Abuse.

There's yet one more layer of symbolism in the fenced in garden, a view of Don as the SRA handler or child trafficker. The fence is a cage and the clay pots and plants, children.

The following are paintings by SRA victim Kim Noble, who painted these while in her alter named Ria. The one titled, 'Caged Up' pictures a scene she remembers of her experience. The handler is holding a phallic instrument used to torture the child, which may be one that induces a high voltage shock. The object in the other painting resembles a black umbrella.

Watch at about 2:52 into the clip where Don has been modeling the behavior of a little girl. Then he sets the umbrella to the ground and gives it a kick. That's the handler abusing the little girl's butt. The umbrella spins into the air to suggest she's going over the rainbow, dissociating. He then steps over to the fence and runs the umbrella across the posts. Then he opens it up and swings it right in our face, giving us a smug look. He's about to dance over to the umbrella programming set. Does that mean something to you now? When he had pranced across to the right like a male child prostitute, the extended hand is not just out for the client's payment, but for the slave's master to grant some provisions, because the slaves are starved to weaken and traumatize them.

This is what goes on in the real world, as the whistleblowers testify. The operations inevitably get the damage controlled and minimized.

Because the “garden inclosed” references that verse in the 4th chapter of the Song of Solomon in the context of Illuminati programming and the agencies of protection, there's a really important dynamic in view. The relationship between the Bride of Christ and her Bridegroom is the subject. The counterparts are in view because the antibride of antichrist is a label that applies to the chosen ones of the Illuminati programming who will be the agents of the Black Awakening. To join the order of Knights Templar, one must swear an oath to defend the Christian faith, which translates to an uncompromising loyalty to the Jesuit boss. There's a hierarchy here, but the order of the Knights pictured in this film scene are representing the antibride, a lethal agency counter to the Bride, and the psi powered agents who serve them without reserve now number in the millions. The conflict of these entities is becoming more evident as it is between Christ and antichrist.

In closing this post, I want to identify a message I perceive being sent by the security wrapper that is the pairing of the Richard Carlane Music Studio and Mount Hollywood Art School. Sound and visual imagery together make for powerful pharmakeia. Thus, the music video and the musical, chock full of mind-control programming magick. Have you seen footage of the pageantry that was the hallmark of Hitler's Nazi parades and rallies? Were you paying attention to the Cultural Olympics and ceremonies this past summer? I've written plenty over the past couple years about dimensional gateways being opened through acoustics, and light, and the combination of the two. Music and art are leveraged in this craft to provide substantial cover for the Devil's SRA and sodomite programming activities. It works!

More to follow - Lord willing!

Part 98 - The Sodomite Gateway - Knights, Blinds and Fencing: Securing 'Singin' in the Rain'

This classic film is recognized as a standard in the industry, and probably not just for song and dance. There's an impressive range of subtle sodomite gateway symbols woven in very cleverly with Freemasonry imagery. What we see in this clip spills the beans on Illuminati activity in your neighborhood and mine, on MK-ULTRA, Monarch or SRA programming. The reason we haven't recognized the activity is because it's done in secret. The reason we haven't recognized the signs of it that are set right out in plain sight is because we've been programmed not to see it. The cloaking is a spiritual matter, but the supernaturalism is contingent upon the symbols through which the demonic power is projected. These symbols through which their secret ways and means are expressed are the tangible evidence of the hidden activity.

I had left off describing how the Singin' in the Rain sequence ends with an exhibit of how the protective seal on the programmers activity is ultimately maintained, with the policeman in front of the Art School demonstrating how the authorities are complicit. In this post, we're going to examine the complement to that scene, which provides exceptional insight into how the programmers get away with it through views of the agents and mechanisms at work, including those in vehicles like this film.

If you use two monitors, you may find it helpful to open the video in one while you read this post in the other. "Singin' in the Rain" 1952 ~ Gene Kelly



If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

At the 2:44 minutes mark, Don leaves the Egyptian sex magick set at the Pharmacy. He passes a rather plain setting on his way over to the umbrella programming scene staged at the LaValle Millinery Shop. After some very effeminate prancing in front of this rather dull setting, which the sign says is the Richard Carlane Music Studio, he arrives at the programming set, where the millinery shop and the bookstore are distinctly linked together, as I described in Part 96. What happens there requires the highest level of security. After looping around the millinery shop and bookstore, Don arrives at the Mount Hollywood Art School, where he splashes around in the puddles and encounters the policeman. As a last line of defense in their security scheme, we have the policeman, in front of the Art School. At the other end is its complement, where other kinds of security are on exhibit in front of the Music Studio. (Music and Arts - keep that in mind.)

There's plenty of what might be considered as rather generic sodomite sex magick being modeled by Don's routine (who's being particularly “light on his feet,” don't you think?), but I perceive three distinct kinds of symbols that suggest that the security theme is the reason for the set, which really must be seen as validation of the reason for the symmetry. To really cap it off, there's another layer of symbolism that links two of those kinds of symbols together! Yes, it is complex. That's the nature of their business.

Note the two pairs of louvered shutters at the Studio. These are storm shutters, sure, but they are also functioning as blinds. They filter the light, they control the view through the window. Aleister Crowley used language that included this terminology. This famous Freemason, Theosophist and illuminated sorcerer, who relished being labeled “the worlds most wicked man,” wrote the following in “The Book of Lies.” “The card 15 in the Tarot is "The Devil", the mediaeval blind for Pan.” He was declaring his understanding of how the Devil is actually Pan, and his use of “blind” is akin to how we might use the word “code.” “The Devil is code for Pan.” It's a substitute used for obfuscation and deception. In the same book, his use of the plural clarifies the word further. “Paragraph 1 is, of course, a well-known scientific fact. In paragraph 2 it is suggested analogically that all thinkable things are similarly blinds for the Unthinkable Reality.” The blind is a symbol, representing something else. It provides a layer of secrecy, guarding the sensitive reality.

I've noted a few times in this blog how blinds are featured as graphical elements in some logos, ads, commercials and such to signal that an Occult work is present but concealed. That's the case at the Music Studio, where the louvered shutters conceal and reveal the light filtering through the windows as an allegory. This is one of the three kinds of security elements.

Another kind are the crosses. A couple of instances are signaled as Don crosses his legs while dancing. The most obvious instance of the cross appears on the entry doors, a plus sign sodomite symbol. Putting this on the doors is perfectly fitting for the signal anus of the sodomite gateway. Such a cross is usually red, or white on red, because it signifies the crossing of the blood streams and life force of the two engaged in ritual sodomy. It signifies the binding function of that act, and the blood oath not to tell about it. It represents the protection afforded a member by that fraternity of the blood oath. Another instance appears in the stylized shape of the Studio sign. It's subtle, but it's the shape of the emblem of the York Rite Order of Knights Templar, the top level order that equates to the 33rd degree of Scottish Rite Freemasonry! It's a sign, get it? Ignore the words and read the shape.

The top three levels of the steps of York Rite Freemasonry have the cross shape featured in their symbolism. With that observation, you can identify this scene as yet one more Masonic setting. The front of the Music Studio has the three steps, and this ascending entryway is like a step pyramid that resembles the diagram of the Steps of Freemasonry. To the right is what looks like a close match to the form of the cross of the Knights Templar.

The place is probably named the Richard Carlane Music Studio to make allusion to the Ancient Mystical Order Rosae Crucis, the Rosicrucians. ( Richard Carlane ~ RC ~ Rosy Cross ~ Rosae Crucis ~ Christian Rosenkreuz ~ Roman Catholic) They're BIG on Egyptian artifacts and esoteric symbols.

The sodomite fraternity that appears to be most particularly identified by the RC sign is infamous for providing the kind of defence and security that assures the continuation of their work and the status quo of the illumined elite. The Knights of Malta. Heads UP! If you choose to research them very deeply, be prepared to engage in spiritual warfare. And, to that I must add alongside them the Knights of Columbus. KC~K=11 C=3 ~ KC=33

So, the shutters signal Crowley's blind, the way of coding language to guard the sensitive realities, a way of obfuscation. The crosses signal the binding sodomite oaths to secrecy and the protection afforded by the Illuminati brotherhood. The third kind of symbol implying that security is the reason for the set is the fencing. The fencing is subtle, but our attention is drawn to it when Don draws his umbrella across the fence posts to make a little music. You know what a fence is, right? Here's a few definitions.

• A structure serving as an enclosure, a barrier, or a boundary
• Archaic - A means of defense; a protection
• To avoid giving direct answers; hedge

Now, when you put the matter of the fencing together with the crosses and shutters, this becomes quite the showcase of defensive mechanisms! I had referred to Don's prancing around in front of the Music Studio as rather generic sodomite sex magick, but the choreography brilliantly layers in some elements that connect these things together in a vivid way!

One of Don's charades involves the kind of fencing that is a classic European martial art, where he wields the umbrella as a kind of sword. Following this fencing demonstration, Don runs his umbrella-sword across the fence posts to make the connection for us. When we identify the umbrella as a sword we recognize that link to the fence and one to the knights identified by the cross symbol. On the Steps of Freemasonry you can see swords at the side of the Knight Templar and Knight of Malta, dressed in their military regalia. The martial art of fencing an example of the many skills used in the defense of their realm.

The identification Don makes with the Knights is even much stronger yet when you identify the umbrella as a medieval lance! His prancing presents him as the lance wielding knight, riding a prancing horse. As he dances in this scene, the tap dancing sound provides the soundtrack of the horse's hooves. And, here's the seal on the deal. When he makes his first pass across the set, he's windmilling the umbrella, spinning it around like a windmill. This Don is Don Quixote! The reason for choreographing this epic character, who had an obsession with chivalric literature, spoke in the Old Castilian language and wore old armor that probably derived from the grail quest period, has to be the link to the knights of the sodomite cross, the Illuminati security force.

Today, Don Quixote seems rather obscure, but the novel's windmill scene would have been more recognizable in 1952. That literary work is widely accepted as a masterpiece. According to Wikipedia, “As a founding work of modern Western literature, and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published. In a 2002 list, Don Quixote was cited as the "best literary work ever written".” In 1959, a teleplay based on the book came out, and that was adapted into a musical called “Man of LaMancha,” which has become one of the most enduring works of musical theater. The song, “The Impossible Dream” came from that musical.

I'm not sure I would have recognized the reference to Don Quixote if I had not seen a cryptic reference to the novel while studying one of the Fringe episodes that featured the black umbrella. That's a post I'm really looking forward to!

There's plenty of protection being signaled here to balance the policeman at the other end of the programming scene. What this Singin' in the Rain musical is concealing and revealing is just how it is that the programming and programmers are very well protected.

There's more here, even in this scene, but I'm going to leave it for another post, Lord willing!

Part 97 - The Sodomite Gateway - Singin' in the Rain: Cover My Back

Cover, protection, obfuscation, delusion and pharmakeia, shadows, plausible deniability, limited hang out, masks, fronts, black ops, blood oaths of secrecy; I bring these subjects up regularly. The work of countering the magickal cloaking devices of the spirit of antichrist is today more necessary than ever before, as the Lord who makes us free (John 8) showers us with favor in preparation for what lies just before us.

Once more, I'm picking up right where I left off in the previous post, and repeating the necessary caveat.

If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

If you use two monitors, you may find it helpful to open the video in one while you read this post in the other. "Singin' in the Rain" 1952 ~ Gene Kelly



Towards the end of this clip of the famous title scene, a policeman walks up to Don, played by Gene Kelly. It's comical because Don has been playing in the puddles like a child. The official on patrol is obviously walking his beat, so he comes to investigate whether he might be drunk or insane. He folds his arms like he's expecting an explanation, and Don offers in response that he's just, “Dancin' and singin' in the rain.” He walks off, looking back and waving a few times like a guilty man being chased off by the law. While he's walking away he passes a man without an umbrella, and in what seems like a kindly gesture, gives him his own. The man with Don's umbrella walks right past the policeman, towards the set where Don had been dancing. The policeman ignores him, focused on watching Don walk away.

What I see in this is continuity with the previous sequence, where I noted how important security was to the success of their activity. Risk mitigation, damage control. Cover. The looping together of the umbrella programming at the millinery and the tightrope charade in front of the bookstore emphasized just how important security is to programming in the SRA scheme. In the policeman scene that closes out Singin' in the Rain, we're shown how the protective seal is ultimately maintained, with the authorities being owned, managed and controlled, complicit. Validating this insight we'll see how the policeman scene is matched to another to bracket the risky activity, enclosing it as for secure containment. It will become apparent that the sets and choreographed routines are designed with symmetry for this reason, at least in part. I'll explain the policeman sequence in detail first, then present its partner in the cover scheme in the next post.

The policeman scene that closes the Singin' in the Rain clip is a dramatic witness to how managing the authorities is like the last line of defense in their security scheme. This is the insulating barrier that provides a guarantee of immunity for the big players. It also provides us little hens with a sense of comfort about our security. We see the occasional expression of concern by the authorities as a sign that our hen house is being diligently patrolled and justice is being done. “Good” foxes, right?

Here's how the scene plays.

Don was frolicking with his umbrella in the puddles, the collected rain water. It represents his activities as a SRA programmer-handler. This has attracted the attention of the authorities. Oh, oh. Exposure! Busted!

Don steps cautiously back up on to the curb, out of the puddle. See how he's got to take a step back? It's just brilliant how this enactment is presented, and right under our noses. Now what? We see Don shrug and offer his innocent cover story, the pretext. Uh, I was just dancin' and singin' in the rain, Mr. Public Official, sir. Yeah, that's all it was.

He slinks off like a guilty man, turning back to wave sheepishly. That's an act, and the actor's art. There's no sense of conviction or remorse. The scene takes place in front of a very secure looking gated facility, the Mount Hollywood Art School. “Mount,” as in sexually mounting. “Hollywood,” the magickal phallus. This is where they get schooled in the art, and every part of it, including the artful cover routines of how to deny, misdirect...

The waving is drawing extra attention to his leaving. Hurrah for our side, the law chased off that bad man! We see Don give the umbrella away. Hurrah for our side, we've taken away that man's ability to do those bad things! With another wave, drawing our attention to his departure, Don walks off with arms pumping vigorously.

Here's the deal. One version is this: Don was sacrificed. Limited hang out. Damage was controlled and minimized. In another and more common version, Don is a free man, jubilant, as he waves to acknowledge his lodge brother's assistance and quickly struts away out of sight. Either way, the hens in the hen house are generally appeased, comforted. Hurrah for our side, we win!

Here's an example of the reality of this theater. It has just been reported that the police in the UK had reports of Jimmy Savile abusing children in as early 1964.

UK Police had Savile Abuse Records in '60s

Savile wasn't just a maverick pedophile.

Jimmy Savile was Part of Satanic Ring

The police did not investigate in 1964, or even yet, if you're going to be really honest. Why not? Have you ever heard of the allegory of a fox guarding a hen house? It's not just that the authorities are bribed, they themselves are involved in the scandalous activity. Have you explored any of the documentaries or news reports or books linked at the bottom of the links page for this Sodomite Gateway Series? Among them is the following brief interview, where you'll find that, “Politicians, judges and police chiefs who allegedly abused care home children in North Wales dodged justice because most were Freemasons, claims a victim:” ( (UK Pedophile Ring) Almost Everyone on the List a Freemason)

See also, Another Round of SRA Coverup: 'Incitement, The McMartin Trial'

That's how it works in real life.

So, with our attention in this scene fixed on the waving and departing Don, we fail to notice how the man who now has Don's umbrella walks right past the policeman. Don has just been replaced. The activity continues because the umbrella has already returned to rainytown. This is how it works in the UK. This is how it works in the US, the military, the intelligence communities, the UN and the Vatican. This is how it works in Hollywood. It's like a card game. Toss out the card or shove it back into the deck. Shuffle. Redeal. The play resumes. Shazaam! It's a new hand!

Did you notice that when Don's replacement receives the umbrella, he immediately puts his hand in his pocket? That's the hidden hand signal! Like I wrote in Part 94, that means his actions are cloaked, secret, with an assurance that he's isolated from accountability. He did that right in front of the policeman. Are you catching on to how this good ol' boys network works? All three men wear their hats. They are all agents in the fraternity of the illumined.

Did the cop not understand about the umbrella? Of course he did. That's his beat. He's part of the action. Don stands with the umbrella at his back and gives him a look as if to say, “Cover my back!” When the man who took Don's umbrella walked by the policeman, the umbrella very nearly hits him in the head. Hello! Connect the dots.

Do you see the smug look on Don's face as he shows the officer the tools of his trade? He's presenting the open umbrella representing the butt at his backside. Then he brings it around, collapsing it to display the phallic version at the front. With that, he declares, “I'm dancin',” because that's how it's done, with his tool.

Don backs away to point out the lamp pole, which we will see is illuminating the set. “...and singin in the rain.,” he sings with a big smile. Smug. And why not, they own the place.

For now.

Still more to follow, Lord willing.

Aviv on the Lord's Calendar

Constrained to careful obedience, some watch with alert eyes opened to see what the Lord reveals. As the barley has been declared aviv and the moon was not sighted tonight, tomorrow will begin the first month.

Mother-Lode of Aviv Barley - March 11, 2013



The annual watch day is now known. The 13th day of the first month will span from sunset to sunset, beginning 3/25. As I've been repeating, even though the sign for the Bride is not appointed until 2015, there is in this season a need to watch very closely to see what patterns are observed.

The conclave at the Vatican has begun. As a Pagan sun cult, they tend to observe the Pagan calendar with its ritual days, and with the Vernal Equinox next up on the schedule, it seems likely they have planned the appointment of their new Pope for the 20th.

Obama is expected to arrive in Tel Aviv an hour before the moment of the Vernal Equinox.

The saber rattling with N. Korea and Iran adds tension to the drama, with unstable economies and governments and divers cultures around the globe showing signs of great unrest, there's plenty to watch.

The Lord promised high drama, and sure enough, we've got it! What an exciting time to be alive, and to see the faithfulness of our living God with His people!

Part 96 - The Sodomite Gateway - Singin' in the Rain: Umbrella Programming at the Hat Store

Once again, I'm picking up right where I left off in the previous post, and repeating the necessary caveat.

If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

If you use two monitors, you may find it helpful to open the video in one while you read this post in the other. "Singin' in the Rain" 1952 ~ Gene Kelly



In the days before what we know today as the music video became popular, Hollywood produced versions in the film genre known as the musical. In them, a dramatic story line is used to stitch songs or song and dance routines together. As you can see from the example of “Singin' in the Rain,” the music videos in dance clubs, on MTV and on YouTube (like the VEVO channel) follow a tradition.

It's good to retain perspective for what we're seeing develop in this subset of posts in the sodomite gateway series. The combining of visual and audible imagery to produce powerful Occult mind-control isn't limited to video or film technology. The range of theatrical productions from Broadway plays to variety shows, Vaudeville, Shakespearean plays, and those productions enjoyed by the Romans and Greeks of old have been weaving their spells, enchanting us with craft in a very literal sense. The entertainment industry is really a mind-control and demonizing industry. It always has been. Events that draw big crowds get special productions like half time shows at football games, award ceremonies and Olympic ceremonies. These are particularly high level rituals, heavily supported with Satanic ritual behind the scenes to accomplish particular objectives.

We left off in the previous post at about 2:35 into the clip. In closing, I had written: “The symbols of programming structures appear throughout this clip. In this drug store setting, what looks like windows each represent an alter identity. It's like the doll house metaphor, and a hall with doors to rooms. I've described this as programming structures symbolized by panes and panels, and those you see below the display window are distinct examples. Don is programming with ritual sodomy and drugs, specifically creating a Beta alter, as I mentioned earlier.”

The use of simple panes and panels to represent alters and programming structures is a relatively subtle technique. In contrast, the presentation of a collection of severed heads to represent dissociated identities is not at all subtle. The Vigilant Citizen has been blogging notable examples of this symbolism for years, with mannequins and masks of all sorts featured from the fashion and music video industries.

I'm going to jump ahead a little to illustrate this in the next big scene, which is staged in front of a hat shop. Just in case we failed to perceive the ritual “sodomy programming at the Pharmacy” scene, starring Don as the handler and the Mahout girl as the slave, we are given this scene as a follow up to clarify and emphasize how this is really about Beta and Delta alter programming, and umbrella programming.

When Don sets the end of the opened umbrella on the pavement and skips around it, as you see in this screenshot, he's demonstrating to us what's called umbrella programming. This rotation of the sectioned umbrella around the axis pictures the creation of a system of alters that are specifically designed to provide a strong defense for the kinds of programming that require the most protection. The mannequin heads appearing behind him represent the alters being programmed.

“U. Umbrella. This is associated with military programming. An umbrella protects something, such as the Delta assassination alters. An umbrella must be taken down from the inside and so must this protective shield of the Umbrella program. One Umbrella system had 7 gates to it.” (The Illuminati Formula to Create An Undetectable Total Mind Controlled Slave by Fritz Springmeier and Cisco Wheeler)

I believe some of the triangles formed by Don's choreographed moves signal Delta programming, like the one the Mahout girl forms with her left arm that adds the Delta to the obvious Beta symbolism present. These triangles can be more than just symbols of the anal triangle. In the presence of other programming symbols, another layering of meaning is added, that of the assassin.

“Delta--This is a Greek letter shaped like a triangle which symbolizes change in calculus. It has become a favorite word to use in naming things for the occult elite. Delta teams are 4 person assassination teams which usually are secret teams. Delta Forces is an elite unit that operates under the Joint chiefs of staff that is made up of highly trained total mind-controlled slaves. Delta models are slaves whose sole purpose is assassination. Delta alters are alters within an Illuminati alter system which are programmed to be assassins. These alters are often some of the deepest in a system and in a Genie bottle or with Umbrella programming.” (ibed.)

When Don dances around the umbrella, his left hand is extended. He's capturing the rain, and with his open hand is also dispensing it.. This can be taken as the semen metaphor, but more particularly we're seeing the distribution of demonic entities that have been invoked for their essential power. If you understand a car engine's electrical system, Don's use of the umbrella is like how a distributor works, transferring the high voltage energy from the coil to the plugs. Programming involves supernaturalism and it is methodical.

“The Illuminati Programmers see the layering in of programming as demonic. They feel the scripts, and movies are more “fronts” than the actual layering mechanism. They believe, as one ex-Programmer said, “This programming involves an organization system, established by horrendous trauma, for the alter personalities involving internal mental imagery, which is driven by demons, who provide the power.” (ibid.)

Other elements in the scene support what I described. The hats on all the heads conceal and reveal how this creation of a DID multiple is done through ritual sodomy, leveraging the graphic anatomical metaphor of the hat-anus covering the head of the phallus. Don's own hatted head appears with the others, while yet on this side of the window glass. We are being cleverly “not told” that he, the handler, is also a slave. His face is not masked and his head is not a mannequin, which presents what must be the correct model of doing the programming while operating in a front alter.

Reader, if at some point you feel like you're being mocked by the industry insiders and the elite who direct them, you're catching on.

This clever scene is staged at the LaValle Millinery Shop. A millinery is a store that sells hats, and “millinery” also refers to the designing and manufacture of hats. There's more technical detail being concealed and revealed. Just like how it is that many different hats can be worn on the same head to make the style fit many occasions or moods, the SRA programmer writes many custom programs to the alters like as if on a slave's highly partitioned hard drive. Each mannequin head is a blank upon which is imprinted a hat, a role. See it? Just like how the shop's display is divided into two windows, the mind of a multiple is split into mirrored pairs, twinned. If you've been following this series closely, this should be familiar. Programmers do the Delta programming themselves, while the handlers assigned to the slaves are typically delegated the less sensitive chores.

The name of the shop adds another layer of the same. It's the LaValle Millinery Shop. “LaValle” translates to “the valley.” That's not geographical but rather an anatomical reference. It not only sounds nicer than “Butt Crack Hat Store,” it doesn't draw attention to the esoteric theme - and that works for them.

In recognizing this scene as a ritual exhibition of umbrella programming we find an explanation for Don's first pass across the set. While making his approach (about 3:00 into the clip), he gives the umbrella a kick into the air, which seems to alert us to a reset of the symbolism of the umbrella. Presto. It's no longer the sodomizing phallus. Don opens the umbrella and spins it while crossing over in front of the entire store front. We were already shown how the slave was brought into the trance state with ritual sodomy, back at the Pharmacy. Now, “Let the programming begin!”

“Those who have been programmed have a locked-in three-year-old mindset which is the core of the programming. Say they’re eighteen or twenty years old and somebody comes up and knows the signal or says the code word to call out the three-year-old core. The person then goes into the three-year-old state to be sodomized, then the sodomites program into their minds what they want to program in, and when that person wakes up they probably don’t even remember that anything happened. Basically, a person reverts back to the three year old to be a total victim to the sodomy.” (Marion Knox - Interviewing Deprogrammers: In the House of the Strong Man Sodomy is the Key)

When the scene is understood as an exhibit of Illuminati programming, we have an explanation for why Don crosses all the way over to the book store before returning back to the millinery shop to demonstrate the umbrella programming. Books are the key, those the programmers and handlers use. “Late Novels” and “First Editions.” Because what we're being shown is technical it's necessary to have some knowledge of these things to have a sense of what's really going on and be able to more firmly grasp the reality of it. We're given a little more insight into the meaning of the bookstore and its two types of books a little later in the production, when Don circles back around to perform another choreographed set in front of the bookstore. I'll get to that shortly.

Records are kept for each multiple that contain relevant information. That's one of the two kinds.

“The handlers of mind-controlled slaves carry around a black or grey 3 ring notebook or a lap top computer with the access codes and triggers. Some of the programmers and handlers have this all memorized. ...These notebooks have color-coded graphs showing the arrangement of alters, the structure of the system, the training of the alters, the history of the alters and other details. All the primary tortures carried out on a slave are coded using dates/no.s so that the memories can be pulled up by the programmers. There is a standard set of hand signals, gestures, and codes that allow a handler to work with someone else’s slave, but the accepted code among the handlers is to leave another man’s slave alone. As one leading psychiatrist put it, “Different ideologies use the same methodologies of mind control.” The Illuminati have secretly put in base programming that allows them ultimate control over many of the other groups’ slaves.” (Ibid)

Each multiple and chosen one has such a book, on paper, as a computer file or in a handler's or programmer's memory. The Illuminati apparently have a kind of master key to all the slaves. Such a master control switch is going to be thrown when the Black Awakening is triggered and those millions of agents of chaos are activated to carry out their assigned roles.

The following excerpt gives insight into the slave's log book as it informs us about an alter.

“HOW THE SELF OF A MAIN ALTER CONSISTS OF SHATTERED SHADOW ALTERS, A SCRIPT, MIRRORS, & ASSIGNED DEMONS
What really is an alter? An alter is a dissociated part of the mind, which is developed by the programmers to be a complete personality. We will now explain what an alter is. If you were to look on the programmers’ charts found in his grey 3 ring binder, or his lap top computer you would see graphs with alters with access codes. What are these alters? If the programmers didn’t invest a great deal of programming and structuring, each alter would not be a complete personality. On the chart, the programmer will have a square on a grid where he will record the cult name, the front name, the alter’s alphanumeric pull up code and its grid number. What seems neat and tidy is really not so neat and tidy. That alter is really an alter with many shadows of itself.” (Ibid)

There's another kind of book, too.

“In the Illuminati covens, each coven will secretly have a copy of The Book of Ages, which is vellum, and is basically a Who’s Who of the Illuminati, and a copy of The Book of Generations, which explains the 13 bloodlines and what belongs to what generation. A handwritten magickal Book of Shadows will also belong to the coven. Only the Keeper of the Books and the coven leader will know about these things. The coven will also have a Keeper of the Seals which pertains to vows and oaths.” (Ibid)

The Bookstore of the stage set features “Late Novels” and “First Editions.” A novel is defined as: “A fictional prose narrative of considerable length, typically having a plot that is unfolded by the actions, speech, and thoughts of the characters.” A first edition is defined as, “The first published copies of a literary work printed from the same type and distributed at the same time. b. A single copy from a group published first.” I believe these two categories describe the kinds of books kept by programmers and handlers. The highly customized scripts that each individual slave helps establish during their programming regimen must be seen as something of a late novel.

After Don dances away, he circles around and returns to be filmed once more in front of the bookstore. Gene Kelly is his own Occult choreographer and he was playing Charades with us. Like a circus performer, he dances on and off the curb when the Millinery Shop is his backdrop. Once he's in front of the bookstore he acts like he's walking on a tightrope, wobbly. Then, just when he comes to the next business, he stops, turns and becomes very confident. He acts like he's going to jump down off the curb with both feet, with the umbrella held firmly like he's about to parachute safely down off the highwire, but he simply steps down and right back up. That's quite a charade!

[Update] I understood most of what was meant when I first wrote this post but more was soon to be revealed, which is why I updated this last part.

This curb dancing sequence witnesses to the fact that the Delta programming and books represent plenty of risk for the programmers. That's what the wobbly tightrope walker routine suggests. Those who use keep the books risk exposure if someone else acquired them and chose to use the incriminating evidence found against them. Also, the slave represents a significant investment to them, and their valuable asset is subject to being lost or compromised if the books are lost. The Omega or suicide programming might be triggered accidentally, or even the Delta or Theta (Dreamscape, Dune) programming. Any black ops in play might have their cover blown. The umbrella programming is intended for protection, to mitigate risks and minimize damage. Walking the tightrope across the bookstore suggests to me that the risks of loss are there, accepted as a necessary part of the operation, and that the books that represent that risk are therefore kept very carefully.

The confident dancing on and off the curb while in front of the Millinery speaks to me of skill and control, suggesting to me that the umbrella programming is carried out in just that way. The confident turn at the end of the millinery and bookstore sequence with its easy umbrella descent speaks to me of the programmer's confidence in a safe return to ground level, when the programming of the slave has been completed. It's that clever little step off the curb that tips us off to another kind of programming!

The descent with an umbrella and also scenes of ascents and floating signal what's called “go over the rainbow” programming, which is the bringing of a slave into a trance state for the installation of a program, and bringing them back out. Gene Kelly did all that with his little step down, then up. You'll find this “go over the rainbow” programming pictured in Mary Poppins, Pinocchio and many other films, commercials, ads, music videos, etc. I believe Gene was giving a nod primarily to Pinocchio, where Jiminy Cricket does the tightrope routine dancing on fiddle strings. See these more recent posts for more insight.

• Yoplait Umbrella Commercial and the Flash Mob Black Awakening
• 2012 Paralympics Opening Ceremony Highlights Monarch 'Over the Rainbow' Programming with Vatican Connections
• Pinocchio and Jiminy Cricket, Disney's Monarch “Conscience” Programmer

Continued in the next post.

Part 95 - The Sodomite Gateway - Singin' in the Rain: Pharmakeia

I'm picking up right where I left off in the previous post, but I'll begin by repeating a necessary caveat.

If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

The clip of the featured scene: "Singin' in the Rain" 1952 ~ Gene Kelly. If you have two monitors on your system, you may find it helpful to open the video in one while you read this post in the other.



This title song is legendary, widely accepted as the most famous dance routine in American film. Apparently, this was Gene Kelly's 13th musical motion picture, a fact worth noting because of the signal number. As you realize the level of attention to detail that characterizes this scene, despite industry efforts to dismiss it as almost an afterthought to the film's production, it should become obvious that every gesture was carefully choreographed, and that every placement of the camera and element of set design was just as carefully planned to create a subtle Occult ritual. When you give further consideration to how the name Hollywood makes allusion to a magick wand, it should occur to you that the region's Theosophical Society, Masonic Lodges, with every other Occult center of activity, including that of the porn industry, are one in purpose. Pharmakeia. Nearby Los Angeles is the City of Angels. Names are not always devoid of meaning.

I'll start at about 1:50 into the clip, where the character, Don, sings the following verse. He's strutting over to a setting where ancient Egyptian sex magick is demonstrated in a way that leaves little to the imagination!

I walk down the lane
With a happy refrain
just singin'
singin' in the rain

There's much more ritual activity in the lead up to this scene, more subtle things that are better presented after the more obvious bits, so I'll return to it later.

This Egyptian sex magick routine is staged in front of a pharmacy. That generic signage appears on the awning. Brass plaques state: Drug Store. What's unfolding here is pharmakeia, the sorcery of Babylon the Great. That describes the supernaturalism on the corporate scale, but what's unfolding in this scene also implies SRA programming, where drugs are typically administered during ritual abuse and sodomy to encourage dissociation.

Don does a ritual dance with the closed umbrella that rather comically features it as his erect phallus, just in case we failed to identify it earlier. He's about to use it to interact with the window display. These next two images show Don using the umbrella to suggest sodomizing the girl. This illustrates what he means by dancin' in the rain.

A smidgen of plausible deniability is lent by the use of the handle end and by the gesture, a misdirection because Don pretends to play the umbrella as a ukulele or guitar. That works perfectly to cover the real intent, until it doesn't! (Momentary flirtations with the association of the umbrella and her bottom also occur at the 2:23 position)

The expressive posture of the girl speaks volumes. It's not smoking Mahout brand cigarettes that makes her that way! That large red bow on her head is a symbol of the bloody ritual that ties her together with her sodomizer (who also wears a tie, around his neck) like fecal mortar cements those ubiquitous bricks, and there's an assumed blood oath on her head not to tell. It looks like she has horns on her head because she's been fiery red devil demonized. The bow is also suggesting cat ears on this blonde's head, suggesting Beta or sex kitten programming. That's what Marilyn Monroe exemplified, who was at just the time of this movie becoming very popular. The red and white banded blouse signals the Adam-red and divine-white condition of being made like a god, supernaturally enhanced.

The gestures that bracket the sodomy ritual support that symbolism. As he approaches her, Don removes his hat, bowing and extending it out to the lady. While pretending to grant her the momentary honor of being the symbolic object of his romantic love for Kathy, he uses that symbol of the anus that covers the head of the sodomizing phallus to signal us that the girl is about to become the hat. His bare head is momentarily superimposed over the phallic obelisk because they are one in symbolic meaning. Then he illustrates just what he means with the umbrella gesture. Don follows that with a little dance where, right in front of her, he holds the umbrella in front of his crotch as it makes the form of a triangle. This suggests the pubic patch of a woman, which points downward. However, interpreted according to the primary theme, it's the anal triangle. This is brilliant choreography. Evil genius.

A similar hat shtick was played in the movie Groundhog Day, when Phil and Rita are sitting on a bed, pitching cards into a hat. Phil advises Rita to “be the hat.” They are in bed together, a customary setting for sexual intercourse. The hat where cards are being pitched represents the anus, the catcher of the sodomite couple. Playing cards represents a supernaturalism, with a deck of 52 representing the Pagan calendar. Four seasons of thirteen weeks each provide an important structure for the worship of the ancient gods in the witch's celebration of the circle of life. Evil genius. The Devil and his agents are wicked clever.

OK. While I'm on the theme of hat symbol sodomy sex magick, here's another example. If you watched the Bullwinkle and Rocky cartoons on TV you may recall the old routine they used to do to close out the show. Bullwinkle the moose played a magician, who would comically fail trying to perform the famous stage trick. “Watch me pull a rabbit out of my hat.” He proceeds to pull some animal out, but never a rabbit. Here's a clip: Bullwinkle's hat gag



Just like how Daffy Duck demonstrates the trunk-as-rabbit hole metaphor for us with the aid of his gun-as-phallus and his own DA, Bullwinkle and every other magician who has attempted to pull a rabbit out of a hat have presented us with the hat-as-rabbit hole metaphor. When Bullwinkle tears off his sleeve, he strips that member naked before thrusting it into the rabbit hole. Right. It's a magic trick that is a genuine magickal ritual, a sodomite sex magick ritual. Bullwinkle the moose is a Occultist. The moose is horned, and the horned god of magick is Cernunnos. Coincidence? Guess again.

Mr Moose on Captain Kangaroo (from the land “down under”) routinely played a gag where he rained white ping pong balls on CK's head (c=3 and k=11 ~ 33). More coincidence? Really? This gag always had CK whining in the rain. See Part 72.

Now, let's consider that richly symbolic setting of the drug store window display, the backdrop for ancient Egyptian sex magick.

Nothing says “sphincter” quite as loudly as setting her inside a ring of white rays flanked by two Sphinx. She's on her knees wearing very short black shorts. The part of the scene that appears most bright places the attention on her bottom, the subject of illumination. Her left arm is presenting us with a triangle as she touches her head, an anal triangle and Horus Eye illumination gesture.

You may recall this image of Rihanna doing the same during another umbrella sodomy love fest, her Umbrella (Orange version) music video. She, too, was famously singin' and dancin' in the rain.

So, clearly, the Mahout girl is ready for love. Her lover has his umbrella-phallus at the ready.

Hey, isn't that a pair of obelisks? Don pauses right in front of one of them. That's a phallus of Osiris, and such an object is typically mated quite literally to a dome representing the fertile womb of Isis. Where's the dome?

The goddess of magick kneels upon an altar of witchcraft, inside the circle that, once cast by this Pagan high priestess, is actually a magickal sphere that has an enclosing dome both above and below the intersection of this plane at the floor. The cigarette and holder are her ritual knife, the athame. The two sphinx represent two of the four Guardians that would be invoked for protection and aid during the ceremony, and the bow on her head suggests the horned god invoked, Cernunnos.

The object of the sex magick is to bring forth Horus, and the HO under the magick circle that is followed by the U alludes to the successful result of this ritual. The string AHO under the ring might be filled in as suggested - A _ _ H O _ _, the A-HO.

You might also take that as “HO” a whore. A Mahout, in the Indian subcontinent and Southeast Asia, is a person who works with and rides an elephant. The Mahout woman rides a beast, and this identifies her as the great “HO” seen sitting on the scarlet beast in Revelation 17, Babylon The Great, The Mother Of Harlots And Abominations Of The Earth.

This woman modeled to us by the Mahout high priestess is also referred to as the great city.

And the woman which thou sawest is that great city, which reigneth over the kings of the earth. ~ Revelation 17:18

And, so it is that we see Miss Mahout set against what must be seen as buildings with windows. She is giant, the great “HO” and city. Clouds appear in the background to complete the effect.

A sodomite version of the beast being ridden is presented here in the drug store display in duplicate. The fabric is draped over each obelisk in such a way as to suggest the form of the buttocks, penetrated by the phallus. The ornate egg-like globes hang near to the business ends, which might be there for lighting, illuminating.

The promotion at this drug store is an inducement to “Smoke Mahout.” My buddy Aaron links this to the hookah smoking caterpillar - butterfly in Alice in Wonderland, who confronts Alice so dramatically with the question, “Who are You,” as he blows smoke at her. In Disney's version (1951, of similar vintage to this film), the clouds of billowing smoke formed the intestines through which Alice was discharged on her way out of Wonderland.

This haze producing and eye-mazing is part of the pharmakeia leveraged by SRA handlers in the traumatizing and subsequent programming of their mind-controlled slaves. This programming of the multiple identities creates a confusion of identity that cannot be readily resolved, by intent, because they are legion, many, and designed to resist attempts to resolve them.

The symbols of programming structures appear throughout this clip. In this drug store setting, what looks like windows each represent an alter identity. It's like the doll house metaphor, and a hall with doors to rooms. I've described this as programming structures symbolized by panes and panels, and those you see below the display window are distinct examples. Don is programming with ritual sodomy and drugs, specifically creating a Beta alter, as I mentioned earlier.

There's plenty more here, and I'll continue in the next post, Lord willing.

Part 94 - The Sodomite Gateway - Singin' in the Rain: Classic Umbrella and Hat Magick

The usual caveats apply, so if you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on. If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway

When I was writing about The Clockwork Orange in Part 70 of this series I made note of how the lead character sang a song from an old musical from 1952, the title song from the movie, “Singin' in the Rain.” He sang it while violently beating a man during a home invasion, just before raping his wife. The song didn't mean anything to me at the time. Some time later, I was watching an episode of the Sci-Fi show Fringe (The Boy Must Live) and observed how “Singin' in the Rain” was referenced again. I had begun to put it together by then. I had learned that rain and the umbrella were ritual sodomy symbols with rain as semen and the umbrella as both the anus (opened) and the phallus (closed). (See parts 75 and 76) I suspected that the famous scene where Gene Kelly danced and sung the title song might be leveraging these symbols too, and that's just what I found! This classic is a masterpiece of sodomite sex magick!

Here's a clip of the featured scene. "Singin' in the Rain" 1952 ~ Gene Kelly



You see, this evil isn't new. Our parents grew up with it, and so did their parents. While the amount of exposure folks have to the symbolic imagery has increased exponentially, it was still embedded in the culture, in architecture, product labels and the illustration of newspapers, periodicals, school textbooks and other books, and theatrical productions.

I'm going to describe what I see in the clip and describe the coded language in the lyrics. There's Occult symbolism throughout. I'm going cover a lot of detail but skip over some of it because it's just so densely packed! It will take me more than one post to get through it. This will segue into some more posts about umbrella symbolism, including at least a couple focused on episodes of Fringe, Lord willing.

As the famous scene from Singin' in the Rain opens we see a classic romantic setting where the man, Don Lockwood (played by Gene Kelly), and woman, Kathy Selden (played by Debbie Reynolds), kiss goodnight in the doorway. They're standing under his black umbrella, a familiar object that, with its scalloped edge, resembles the anus.

The scene is modeling the Royal Arch in a Masonic Lodge. The bricks are the signature masonry element, with the bricks as lodge brothers, cemented together with the fecal mortar of the binding oaths and supernaturalism of ritual sodomy. The couple stands under the Royal Arch, a sodomite gateway, the umbrella overhead suggesting the arch. Two lamps flank this altar, as the typical pillars and the sun and moon. Another pair of pillars appear in the hand rail posts. There's love in action, but what appears on the surface may be considered merely misdirection, the mask.

We're all familiar with religious art where a halo of light is placed behind the head of a subject to indicate holiness. Consider the circle on the window as Kathy's halo, but instead of being holy, of course, she's illuminated. She wears a purple cap to model the sodomite phallus. Yes, that's what he's kissing. Listen to the words spoken. Don is dissociated, unable to perceive the reality of the rain, gone to a sunny place “somewhere over the rainbow.” When they separate, she goes off through the doorway into the light, where we see a phallic head shaped lamp shade.

When Don starts to get musical, he seems to be singing some nonsensical words. When you catch on to the esoteric nature of the scene you realize he's singing a ditty about doody, a childish word for poop. I've heard that kind of signaling before. Sometimes, I hear the word “duty” used in the midst of other symbols of the sodomite gateway or trauma-based mind-control programming. The woman had just made a poetic reference to the rain as “California dew.” Given the rain-as-semen metaphor, her embellishment applies to his ditty, which is about the combination of “dew” and “doody.”

Yeah, I know. Try not to laugh so hard - you'll hurt yourself. This is really quite a serious matter.

Don waves off the waiting vehicle. He doesn't need a driver anymore. He's got the hook-up. He's illuminated and now he's the driver, the SRA handler.

He pauses and collapses the umbrella while standing under the water that pours off an awning, which splashes off his hat. He's layering the symbols and giving us the key, identifying to us that the hat is just like the umbrella. While he pauses, we see the oval panel on the door presenting the halo of illumination behind his head, just after he swings the butt signaling umbrella over to the backside of a woman's bust in a store front display window. That oval is framed by two panels like parenthesis, or like mirrored letters C, presenting a subtle sodomite and Masonic 33 signal.

I'm singin' in the rain
Just singin' in the rain
What a glorious feelin'
I'm happy again.

Glory is a supernaturalism, a manifesting expression of God that relates to power and light - or, in contrast, gods and a dark power and light. The movie poster I opened with has this phrase superimposed over the three umbrellas, “What a Glorious Feeling.” That's a reference to the initiation into illumination the slave experiences and the power transfer the handler experiences during ritual sodomy.

“The Illuminati believe that they can suck the life spirit out of a person through intercourse with what they call the Eye of Horus (the anus). This is why the leaders of this World Order (such as George Bush, Bill Clinton, and tens of thousands of others) are into sodomy, they are trying to vampirize all the years of life out of the victim to gain a longer life. Some of the sad child victims, who have been kept exclusively for this purpose do look like the life force has been sucked out of them. Sodomy has its own secret chamber on the cabalistic tree of life.” (Deeper Insights into the Illuminati Formula by Fritz Springmeier & Cisco Wheeler)

Don leaps up and hangs off the lamp post, extending out the umbrella in its phallic form.

I'm laughing at clouds.
So dark up above

By this, is he referencing the clouds of the book of Jude and the darkness of those agents of evil? He's being drenched with the rain and loving it, singin' in the rain.

In this pose, Don is superimposed over another Royal Arch, a doorway, a sodomite gateway. There's just no mistaking this once you become familiar with the routine. On one side we have the phallus, and on the other, the illuminating light of the sun god; an illustration of the left hand path. He's lifted one leg to cross it with the other, forming a cross or sodomite plus sign, and a triangle as the space under his crotch, the anal triangle.

Don jumps down and embraces the giant phallic pole, pressing his umbrella up against it as he does an effeminate thing with his voice.

The character's name is “Don Lockwood.” Is there some kind of wood-as-phallus thing going on here? Is the lock and key sodomy metaphor being used? I believe there's an allusion being made from this character to another Don, not so much Don Juan, womanizer, as “Don Quixote,” the protagonist of another classic which Fringe makes reference to in a very symbolic scene featuring a black umbrella (Black Blotter episode). But that's for another post, Lord willing.

The sun's in my heart
And I'm ready for love.

The sun is in his heart, and you may take that in context as the heart-as-bottom. The sun is the sun god Horus, the *s O n* son of the Devil, who is engaging Don in ritual sodomy by proxy. Marion Knox, an experienced deliverance minister explains. “Basically, Satan cannot sodomize someone on his own, but he can influence somebody to sodomize someone else and then it’s like having Satan sodomize them and put the sodomy power within them.” Oh yeah. Don is ready for love.

He's doing this bit in front of the Palm View (or Vista, perhaps) Apts, which is noted on a little sign on a shade on the doors. The palm is a symbol I've written plenty about on these pages. It is the tree under which Leto gave birth to the son of Zeus, Apollo. Here's a logo that presents a palm view many sodomites in Hollywood would be familiar with, the sodomite gateway.

He dances off and strikes another pose, opposing the umbrella with the hat in an apparent modeling of the forward catcher of the two Vitruvian men.

Let the stormy clouds chase.
Everyone from the place
Come on with the rain
I've a smile on my face

With the rain pouring onto his upturned face, he sings that verse, and we note the homonym that validates the rain-as-seminal fluid metaphor through redundancy. Off he strolls, swinging the umbrella with his hand in a pocket to give us a subtle variant of the classic hidden hand signal that has been used by Illuminists over the centuries. That means his actions are cloaked, secret, with an assurance that he's isolated from accountability.

Don passes under an illuminated Horus sunrise arch as he gets in position for the next set, where ancient Egyptian sex magick is demonstrated right before our eyes.

I'll pick this up in the next post, Lord willing.