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.