[237] The Leech Queen Passes the Torch (again)

Initial Rant
Este post fue una prueba de la aplicacion blogger del Android.  Esperare versiones futuras porque esta version apesta.  No puedo accesar los comentarios previos, los articulos no los da en orden y mas importante, es un pain in the ass cuando te borra la mitad del articulo despues de publicado y que no te deje manipular la foto.  Lo voy a dejar por si me da con postear alguna foto o rareza como borrador.

Post Original: 

Madonna wins the Super Bowl | MetaFilter
Eww on the interface!!!
Half of the article vanished!!!
Blogger 4android sucks!!!
Regarding madonna. Great performance full of nwo and illuminati propaganda.  Will update article from desktop.

Deje el thread de Metafilter abierto pues tiene muchas cosas interesantes.  El video del halftime show lo voy a poner aqui pero me huele a que va a durar muy poco...



Por si acaso, The Daily Mail publico imagenes de alta resolucion del evento aqui:
http://www.dailymail.co.uk/tvshowbiz/article-2097020/Madonna-Super-Bowl-halftime-2012-Singer-suffers-small-slip-up.html

Como adelante, esta lleno de alegorias de NWO y de Illuminati.  Una vez mas a Madonna le toca pasar el baton masonico a la nueva generacion, esta vez Nikaj, MIA, LMFAO y otras etoiles de jour buscando sus quince minutos de fama.  Estoy seguro que habran ocultistas ya escribiendo tomos sobre el evento.  Esperare a que salgan para actualizar el articulo.  Adelanto como entremes varios analisis previos de la programacion iluminati en la musica que he adelantado en otros articulos:
http://alcantarillaalquimica.blogspot.com/2012/01/231-judas-iscariote-lady-gaga-y-la-era.html
http://alcantarillaalquimica.blogspot.com/2012/01/236-echar-pa-lante-propaganda-en-accion.html
http://alcantarillaalquimica.blogspot.com/2011/09/199-un-poco-de-transhumanismo.html

Lo de Leech Queen es porque absorbe el talento de los mas jovenes.  El paso de baton a MIA lo hizo previamente con Lady Gaga y antes con el beso de la muerte con Britney y Xtina en unos MTV awards de a/nos previos.

http://vigilantcitizen.com/tag/madonna/
http://vigilantcitizen.com/musicbusiness/the-occult-symbolism-of-movie-metropolis-and-its-importance-in-pop-culture/
Back to the movie. The android completed, Rotwang tells it:

“I want you to visit those in the depths, in order to destroy the work of the woman in whose image you were created!”

Robot-maria responds:

One eye closed with devilish grin. You probably know the importance of the single eye from previous articles and the ridiculous amount of pop artists who flash it.

The Maria android is then sent to Yoshiwara, a man’s club, where she performs erotic dances. In one of her acts, she is portrayed as Babylon, the Great Harlot from the Apocalypse.

Playing the role of the Great Harlot Babylon of the Book of Revelation. “And the woman was arrayed in purple and scarlet colour, having a golden cup in her hand”. She is held up by the seven deadly sins.

Do this scene remind you of a classic music video?

Madonna – Material Girl. How many realized that she was playing the role of Babylon here?

The programmed Maria performs mesmerizing dances in front of an avid public, causing men to fight, to lust, to be jealous and to commit the rest of the deadly sins. When she’s with her fellow workers,  Maria acts as an “agent-provocateur”, inciting the working men to riot and giving Joh Fredersen reason to use force against them. She is basically acting against the best interest of the public and for the interest of the elite.
With the help of their foreman (because they can’t really think for themselves), the workers ultimately realize that they have been mislead by the android. Believing that she’s a witch, they find robot-Maria and burn her at the stake.
A bunch of things happen after that, but I won’t spoil the ending for you (though can you really be mad at someone for spoiling the ending of a 83-year old movie?). The movie finishes with this caption:

This “moral of the story” is basically a message to the elite, a tip to keep the masses in check: in order to keep the oppressed content, you must capture their heart. That is what the media accomplish.

Which is kind of reminiscent of this music video ending:

Madonna’s Express Yourself video heavily borrowed its imagery from Metropolis. In turn, Christina Aguilera’s Not Myself Tonight, heavily borrowed from Express Yourself.

The Moral of the Story

The moral of the story of Metropolis is not “let’s abolish all inequities and rebuild a world where everyone is equal” and it is certainly not “let’s be democratic and vote for who we want as a ruler.” It is more “let’s send the workers back to the depths where they belong, but with the addition of a mediator, who will be the link between the workers and the thinkers”. So, when all is said and done, the movie is intrinsically “elitist,” as it still calls for the existence of an elite group of people holding most of the resources and managing a working class. In the end, the workers – and Freder – were duped, believing that their conditions would change. In fact, the status-quo remained and Joh even got his naive son to give the elite a friendly image while reporting everything happening in the depths, resulting in tighter surveillance and control.
Who is the Freder of today’s working class? The media. Media is the mediator. That is its function.

Fredersen, the link between “the hand and the head”, the Workers and the Thinkers. This role is played today by the media.

Mass media manipulate the masses’ thoughts and feelings on a daily basis, tricking them into loving their oppression. Popular culture is the entertainment branch of mass media and pop music is the fun way to communicate the elite’s message to the youth. References to Metropolis in pop music are almost winks to those in the know, the initiates, as if to say “this star is working for us”. So go ahead and be an ignorant, degenerate and materialistic person, like in the videos … that’s what they want you to be.

http://vigilantcitizen.com/musicbusiness/christina-aguileras-not-myself-tonight-more-illuminati-music/

2003 VMA Perfomance

Taking place on a Masonic checkerboard-patterned floor, this symbolic performance is the ritualistic initiation of Britney Spears and Christina Aguilera into the occult music business. The ceremony starts with Britney and Christina making their way down a pyramid-shaped cake singing Madonna’s Like a Virgin. The song choice is very significant as it describes the young singers’ purity and innocence before the ceremony. This is also reinforced by their white gowns. Then the Priestess comes out, wearing a black tuxedo and a Masonic top hat.

She sings Hollywood, a song about the city symbolizing the entertainment establishment, the gateway to super-stardom. Madonna is a representative of the occult industry and welcomes Britney and Christina into it. She sings:
Everybody comes to Hollywood
They wanna make it in the neighborhood
They like the smell of it in Hollywood
How could it hurt you when it looks so good?
Shine your light now
This time it’s got to be good
You get it right now
Cause you’re in Hollywood
The entire performance puts into light Madonna’s domination and superiority over the singers. She ultimately passes on the torch to the two singers with a symbolic kiss.

They should maybe bear in mind this verse from the song Hollywood:
I lost my memory in Hollywood
I’ve had a million visions bad and good
There’s something in the air in Hollywood
I tried to leave it but I never could
Following in the footsteps of Madonna, Christina and Britney then appeared to dabble with Kabbalah, though only a “Hollywood” brand of Kabbalah, as tattoos are not permitted in its sacred scriptures.

Left is Britney’s tattoo of the Hebrew letters Mem-Hey-Shin, one of the 72 names of God. This one represents “healing”. Right is Christina’s tattoo of the Hebrew characters Yud and Bet, apparently dedicated to her husband Jordan Bratman.

In the years that followed, Christina took the apparently obligatory “sexualization” path of Illuminati idols and also appeared in works associated with black magic and mind control.

UPDATE: Some threads are running already:  Entertaining as hell.
http://lunaticoutpost.com/Topic-Madonna-s-superbowl-performance-or-ritual?page=12

Este en particular esta de madre...
http://lunaticoutpost.com/Topic-Madonna-s-superbowl-performance-or-ritual?page=16

http://www.sodahead.com/fun/madonnas-super-bowl-performance-was-illuminati-all-the-way/question-2440275/?page=2&postId=77142089#post_77142089

http://www.godlikeproductions.com/forum1/message1775348/pg1

http://www.godlikeproductions.com/forum1/message1775332/pg1

By the way, hay una especie de culto en la cientologia y la kabbalah de estas super estrellas de Hollywood.  De Madonna, como ya se le acabo el gas a la cabala ahora rumora (prueba aguas) con el opus dei...
http://www.adherents.com/people/pm/Madonna.html
http://www.mirror.co.uk/celebs/news/2011/04/11/madonna-ditches-kabbalah-for-opus-dei-115875-23052669/
http://www.freerepublic.com/focus/f-religion/2707644/posts
http://ivarfjeld.wordpress.com/2011/04/23/madonna-from-the-pan-to-the-fire/

Una introduccion a la pseudocabala que practican en Hollywood aqui:
http://hollywoodilluminati.com/2011/10/29/satanic-demonic-roots-of-hollywood-kabbalah-modern-religion-un-sons-of-man/
http://en.wikipedia.org/wiki/Kabbalah_Centre
http://www.rickross.com/reference/kabbalah/kabbalah72.html

Y mas para abonarle a su fama de leecher:
http://www.aishamusic.com/lawsuit_many_artists_madonna_stole_from.htm

UPDATE: Feb 10, 2012 Vigilant Citizen did indeed comment on the event but not as in much detail as I expected.  I guess it was because it was so obvious:
http://vigilantcitizen.com/musicbusiness/madonnas-superbowl-halftime-show-a-celebration-of-the-grand-priestess-of-the-music-industry/
http://vigilantcitizen.com/latestnews/forget-m-i-as-bird-flip-worry-about-pops-sexual-moral-decline/
Unrelated Photo
Esta imagen solo presentaba un balance hidraulico de un sistema de tratamiento al que le hacia los computos a mano la semana pasada.

[231] Judas Iscariote, Lady Gaga y la Era de Horus

Hacia tiempo que no le ponia mi esfuerzo a la parte Alquimica de la Alcantarilla.  Asi que usando de pie forzado un articulo de Puertorriquenhadas en Mostaza sobre el personaje de Judas Iscariote decidi desarrollar un poco toda esta mitologia que esta detras.

Asi que comencemos con el 'due credit' a Antigonum y el escrito por Daniel Samper Pizano (http://es.wikipedia.org/wiki/Daniel_Samper_Pizano), 'Piedad con este pobre huerfano!", Plaza & Janes , Bogota 1984:

http://puertorikenhadasinmostaza.blogspot.com/2012/01/ante-la-ola-criminal-islenha-un-refrito.html

http://endemismotrasnochado.blogspot.com/2008/03/defensa-minima-de-judas.html
http://endemismotrasnochado.blogspot.com/2008/03/defensa-minima-de-judas-continuacion.html

Primero algo de Daniel Samper Pizano.  Escribe para la revista El Carrusel y se pueden ver sus articulos previos aqui:
http://www.eltiempo.com/noticias/daniel-samper-pizano

Judas Iscariote ha sido siempre representado como el traidor por excelencia.  Sin embargo esa percepcion ha ido alterando en literatura reciente.  Les dejo una cadena, asi como la que discuti en articulos anteriores de la historia selectiva de la Iglesia en este tema:
http://alcantarillaalquimica.blogspot.com/2011/05/179-rant-sobre-la-disidencia.html
http://alcantarillaalquimica.blogspot.com/2011/07/190-nestorianismo-historia-relegada-al.html
 
Jorge Luis Borges - Las Tres Versiones de Judas
http://en.wikipedia.org/wiki/Three_Versions_of_Judas

El cuento corto aqui:
http://www.literatura.us/borges/tres.html

Borges parece haber predicho todo lo del evangelio no canonico de Judas, el cierre aqui:
...
 En vano propusieron esa revelación las librerías de Estocolmo y de Lund. Los incrédulos la consideraron, a priori, un insípido y laborioso juego teológico; los teólogos la desdeñaron. Runeberg intuyó en esa indiferencia ecuménica una casi milagrosa confirmación. Dios ordenaba esa indiferencia; Dios no quería que se propalara en la tierra Su terrible secreto. Runeberg comprendió que no era llegada la hora: Sintió que estaban convergiendo sobre él antiguas maldiciones divinas; recordó a Elías y a Moisés, ,que en la montaña se taparon la cara para no ver a Dios; a Isaías, que se aterró cuando sus ojos vieron a Aquel cuya gloria llena la tierra; a Saúl, cuyos ojos quedaron ciegos en el camino de Damasco; al rabino Simeón ben Azaí, que vio el Paraíso y murió; al famoso hechicero Juan de Viterbo, que enloqueció cuando pudo ver a la Trinidad; a los Midrashim, que abominan de los impíos que pronuncian el Shem Hamephorash, el Secreto Nombre de Dios. ¿No era él, acaso, culpable de ese crimen oscuro? ¿No sería ésa la blasfemia contra el Espíritu, la que no será perdonada (Mateo 12: 31)? Valerio Sorano murió por haber divulgado el oculto nombre de Roma; ¿qué infinito castigo sería el suyo, por haber descubierto y divulgado el horrible nombre de Dios?
         
 Ebrio de insomnio y de vertiginosa dialéctica, Nils Runeberg erró por las calles de Malmö, rogando a voces que le fuera deparada la gracia de compartir con el Redentor el Infierno.
         
Murió de la rotura de un aneurisma, el primero de marzo de 1912. Los heresiólogos tal vez lo recordarán; agregó al concepto del Hijo, que parecía agotado, las complejidades del mal y del infortunio.1944

Judas como el heroe tras bastidores
http://en.wikipedia.org/wiki/Judas_Iscariot

In Martin Scorsese's film The Last Temptation of Christ, based on the novel by Nikos Kazantzakis, Judas Iscariot's only motivation in betraying Jesus to the Romans was to help him, making Judas the catalyst for the event later interpreted as bringing about humanity's salvation. This view of Judas Iscariot is reflected in the recently discovered Gospel of Judas. The film King of Kings presents a similar betrayal.

In Andrew Lloyd Webber's musical Jesus Christ Superstar, Judas is portrayed as a tragic hero who believed that Jesus was not the son of God, but rather just a man. Since he feared that if Jesus' following grew too large then the Romans would attack and kill the Jews, he betrayed Jesus to Caiaphas and Annas to prevent a bloodbath.

Si aun no han visto la pelicula, se la recomiendo.  Es excelente, sobre todo la pista por Peter Gabriel y los grandes vestuarios, incluyendo tatuajes henna para darle realismo a los actores.  Rese/nas aqui:
http://oldschoolreviews.com/rev_80/last_temptation.htm
One of the most outstanding aspects of Last Temptation is the incredible score composed by Peter Gabriel. It combines indigenous music from the Middle East and North Africa with folk music and some rock sounds, often with a driving "primitive" drum beat to create a unique, ethereal sound. Even if you have reservations about seeing the movie, check out the soundtrack. It may be listed under New Age music in some stores.

Although I can understand why some Christians may have difficulty with some of the images of Christ, The Last Temptation of Christ is hardly blasphemous in spirit. The main forces behind its creation come from an eclectic Christian background--Scorsese is Roman Catholic, screenwriter Paul Schrader is Dutch Calvinist, and novelist Nikos Kazantzakis is Greek Orthodox--and they have blended their backgrounds to make a film geared towards western audiences.

http://lasttemptationofchrist.weebly.com/judas-iscariot.html

First of all, Judas in this canon is certainly not the Judas of the New Testament. He is not depicted as evil or a traitor. Judas was merely acting under orders because he was the strongest disciple (see "Before its Time?" above). Judas was a religious zealot who, at first was sent to kill Jesus. He accepted his teachings instead and somewhat reluctantly became a follower. At first he was disgusted by Jesus making crosses for those who oppress them. Although he began to trust Jesus and see him as the son of God. Judas seemed to understand Jesus the most and was by far the most commited disciple to the cause. With a tendency to fight more than love, Jesus and he contrasted each other.

What made Judas's character so controversial was that some viewers considered him more wise and brave than Jesus. He is considered a stronger character to some because he confronts Jesus after Christ is shown as an old man, not having died for the sins of the Jews (see "Temptation of Jesus"). Judas has done his part, although Christ wavered and did not die as planned by God. Although this did not eventually happen, it is an intriguing point referring the character of Judas himself.

http://www.decentfilms.com/articles/lasttemptation.html
Un disclaimer: el autor de esta rese/na no le gusto para nada el caracter 'blasfemo' de la pelicula.  Pero da una idea de lo polarizante que es la pelicula.

Judas the hero; John the Pentecostal

Nor is it only the portrayal of Jesus himself that is antithetical to Christian thought. Virtually every characterization, every aspect of the film is deliberately iconoclastic, self-consciously contrary to traditional Christian understanding, calculated for shock value. First and foremost is the reinterpretation of Judas Iscariot (Harvey Keitel) as a principled hero, a man who ultimately "betrays" Jesus only because Jesus orders him to do so over Judas’ own tortured objections. When faithful Judas demands to know whether if Jesus himself, were he in Judas’ place, would be able to betray a beloved master, Jesus replies (in a moment typical of the film’s sensibilities), "No, I couldn’t. That’s why God gave me the easier job [i.e., dying on the cross]."
Throughout the movie Judas acts almost as Jesus’ conscience. As the film opens we find Judas patriotically upbraiding Jesus for collaborating with Rome by his cross-making. When Jesus begins his ministry, Judas follows him conditionally, warning him that if he betrays his mission Judas will kill him. Finally, in the climactic scene, it is a stern, prophetic Judas (or a dream-representation of him) that recalls Jesus to the necessity of his dying on the cross.
Once again, there’s nothing wrong with trying to humanize Judas to an extent, or give him understandable motivations. The filmmaker can even make us empathize with him to the point of feeling that we too would be capable of doing what he did. But what he did, in the end, has to be wrong; and Keitel’s Judas never manifests anything like corruption, self-interest, or pettiness. Jesus is the main character and protagonist here, but a case could be made that Judas is the film’s true hero, or at least its most idealized character.

Un Pasito Atras - El Evangelio de Judas
http://en.wikipedia.org/wiki/Gospel_of_Judas
In contrast to the canonical gospels which paint Judas as a betrayer of Christ who delivered him up to the authorities for crucifixion, the Gospel of Judas portrays Judas's actions as done in obedience to instructions given by Christ. The document also suggests that Christ planned the course of events which led to his death. This portrayal seems to conform to a notion current in some forms of Gnosticism, that the human form is a spiritual prison, that Judas thus served Christ by helping to release Christ's soul from its physical constraints, and that two kinds of human beings exist: the men furnished with the immortal soul which is "from the eternal realms" and "will abide there always" ("the strong and holy generation...with no ruler over it", to whom Judas belongs), and the other ones, the majority of mankind, who are mortal and therefore unable to reach the salvation. The Gospel of Judas does not claim that the other disciples knew about Jesus's true teachings. On the contrary, it asserts that they had not learned the true Gospel, which Jesus taught only to Judas Iscariot, the sole follower belonging to the "holy generation" among the disciples.

Religious responses
In his 2006 Easter address, Rowan Williams, the Archbishop of Canterbury, strongly denied the historical credibility of the gospel, saying^[27]

This is a demonstrably late text which simply parallels a large number of quite well-known works from the more eccentric fringes of the early century Church.

He went on to suggest that the book's publicity derives from an insatiable desire for conspiracy theories:

We are instantly fascinated by the suggestion of conspiracies and cover-ups; this has become so much the stuff of our imagination these days that it is only natural, it seems, to expect it when we turn to ancient texts, especially biblical texts. We treat them as if they were unconvincing press releases from some official source, whose intention is to conceal the real story; and that real story waits for the intrepid investigator to uncover it and share it with the waiting world. Anything that looks like the official version is automatically suspect.

Later the same year, Biblical scholar Louis Painchaud argued that the text suggests Judas was actually possessed by a demon.^[28]

Judas, Lady Gaga, Iluminati y la Era de Horus
http://vigilantcitizen.com/musicbusiness/lady-gagas-judas-and-the-age-of-horus/
Hasta yo tengo limites.  Aqui hay conceptos para hacer varias peliculas de Hollywood:
Lady Gaga’s “Judas” video is a modern retelling of biblical stories, where Jesus and his disciples are portrayed as a biker gang. But don’t mistake the video for a Bible lesson as it twists and turns important scenes to give them a very different meaning. In fact, it can be argued that the video symbolically describes an important aspect of Gaga’s work and of society in general: a rejection of Christianity in order to make way to what has been called the Age of Horus. This article will look at the origins and the symbols found in Lady Gaga’s “Judas”.


con joyitas como estas:

Gaga as Mary Magdalene

The video portrays Jesus and his disciples as a biker gang riding around with skull-and-bone insignias on their backs (nice touch). Gaga is riding with Jesus, playing the role of Mary Magdalene.
Although it is not clearly specified in the Bible, Mary Magdalene is said to be the prostitute who was about to get stoned to death by an angry mob until Jesus came along and said: “Y’all country-ass, donkey-riding peasants better drop them rocks and go on home before things get REAL ugly up in here”. Wait, that’s what Samuel L. Jackson would have said. Jesus actually said: “Let he who is without sin cast the first stone”.
At the very end of Judas, Gaga is seen stoned to death, insinuating that Jesus was not there to save her.

Gaga as Mary Magdalene stoned to death. In Judas, Jesus has failed to save Gaga. Also, does this scene portray Gaga being persecuted by people who are offended by her music?

So Gaga plays the role of Mary Magdalene where Magdalene is not only the friend and disciple of Jesus, but his lover. This portrayal of Mary Magdalene as Jesus’ mate became popular in the past few decades with books such as The Jesus Scroll (1972), Holy Blood, Holy Grail (1982), The Gospel According to Jesus Christ (1991), The Da Vinci Code (2003), The Two Marys: The Hidden History of the Mother and Wife of Jesus (2007); and by films like Bloodline (2008). These alternative accounts on Jesus Christ’s life originate from modern interpretations of Gnostic and apocryphal texts (mainly the Nag Hammadi) where Magdalene is described as Jesus’ “favorite disciple” and “companion”. An interpretation of the apocryphal Gospel of Philip even alludes to Jesus “often kissing Mary Magdalene on the lips”.

Some occult circles believe that Jesus lived well beyond the age of 33 (a number they believed was selected for symbolic reasons). Some claim that Jesus married Mary Magdalene with whom he had a daughter named Sarah. Some even claimed that they moved to Southern France, where they started the fabled Merovingian Bloodline.

Judas therefore portrays Mary Magdalene from this angle, where Gaga is the wife of Jesus. However, she only has eyes for Judas.

Algo de la Edad de Horus aqui:
http://www.nachtkabarett.com/theOccult/AgeOfHorus
It is time for their world to be destroyed. It is time for a new age, the Age of Horus. It is time for a new standard, a new canvas, and a new artist. We must forget this wasted generation and amputate it before the mind rots away with it. Paint it, record it, write it down before they kill you with their slow poisonous stupidity. Make yourself heard.
This Internet is your middle finger to the universe, don't let them break it.
Fuck their world. Let's make our own.

The third and final Beast
Marilyn Manson

El 'bottom line': Jesus cerro la edad de Piscis y Lucifer abre la Edad de Horus..
No entiendes?  Es como cuando los abogados mataron el nombre de Walter Mercado para ahora  llamarlo Shanti Ananda...
http://www.elnuevoherald.com/2012/01/10/1095817/walter-ahora-shanti-ananda-martes.html

[Churn out]