Wednesday, March 13, 2013

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.

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