Sunday, June 16, 2013

Part 4 - Code 33 - The Smashing Pumpkins

Sometimes, the number 33 is presented like any other number might be in our world with no obfuscation whatsoever. These instances may be assessed with a sense of what the mystical number means to expose where it's being leveraged as a sorcerer's mechanism by Illuminated predators.

“Thirty-Three” is the title of a song by the American alternative rock band, The Smashing Pumpkins. I'm going to give that some attention because it exemplifies several key aspects of Code 33.

Smashing pumpkins is what juvenile pranksters do on Halloween night, so straight away a violent act of vandalism is brought to mind. What is also brought vividly to mind is that very important day on the Pagan's ceremonial calendar that is also called Samhain. The pumpkin is a metaphor for the head, and the violent smashing of heads is something that may be witnessed or experienced during Satanic Ritual Abuse and Pagan sacrifice. The most compelling interpretation of the band's name invokes the SRA programmers and handlers who fracture the minds of the slaves. When a victim is traumatized and they experience dissociation, the multiple alter identities generated are the result of their smashed pumpkins. The lyrics and the imagery of the official music video for “Thirty-Three” really only make sense in that context. The Smashing Pumpkins further speaks of the black awakening, when the programmed agents of chaos will vent their demonic fury.

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 consider moving on.

To set some context for the song, “Thirty-Three,” was the last single released off the “Mellon Collie and the Infinite Sadness” album (released on 11/11 1996, yes, eleven eleven). The first single released off that album was titled, “Bullet With Butterfly Wings,” a song that was their first Top 40 US hit and which garnered their only Grammy award. That single's cover art speaks volumes!

What is a bullet with butterfly wings but a Monarch programmed Delta assassin, produced by the pumpkin smashing Illuminati programmers and handlers. The adult man on the artwork is as a paper veneer, a masking front alter, and inside that torn open “smashed pumpkin” facade we see his core persona revealed. That child identity represents the mind-controlled slave at the age when he was initiated, where without deliverance he will remain enslaved, forever young. The rayed celestial illumination appears as from his backside because ritual sodomy is the fundamental key to that enlightened state. The tearing opened a pentagram star portal.

The previous album was titled, “Siamese Dreams,” suggestive of the Illuminati twinning process that is done while the programmer has the slave in the trance state.

Here's the official video for The Smashing Pumpkins - Thirty-Three.

The music video was directed by writer and frontman Billy Corgan and his then-girlfriend. The lyrics he wrote and the visual imagery he associates with it are his own, suggesting that, officially at least, there's no industry sponsored intervention in the artistic interpretation.

While most assume these lyrics are best described as poetic expression there's a better explanation. It's a coded message that I'll explain in commentary, as I understand it. I'm no programmer, but I have learned a few things about how their craft operates, as the Lord graciously opens it to me.

Lyrics: The Smashing Pumpkins - Thirty-Three

Speak to me in a language I can hear
Humor me before I have to go
Deep in thought I forgive everyone
As the cluttered streets greet me once again

[This describes a ceremonial occasion such as Samhain, when the long night's ceremonial has run on into the next day. When it's over, the heinous acts committed among them are put behind them, and as folks are ready to integrate back into the external world they exit the isolated and private setting. Video imagery: Hookers at a whore house, one is a Marilyn Monroe look-alike, an MK-ULTRA covergirl. The setting reveals how the ceremonial resembled a sex party and featured mind-control programming.

Is there a language spoken that you can't hear? No natural language, but there supernatural communications exist, psi powers of telepathy. There are those who can push or project their thoughts into the minds of others and those who can perceive the thoughts of others, transmitters and receivers, if you will. If you haven't experienced these things personally you are going to be very skeptical, but if you can accept the testimony of others who are quite sane, this communication is real. ]

I know I can't be late
Supper's waiting on the table
Tomorrow's just an excuse away
So I pull my collar up
And face the cold, on my own

[Returning to the obligations of their cover lives is apparently a challenge, and excuses must be made for their degraded appearance and performance after being up all night. Video imagery: Alice in Wonderland, programming classic with Alice and the white rabbit, and the table set is by extension alluding to the surreal Mad Hatter's tea party. The man who walks through the park alone is the programmer who is also a slave, who leaves with a balloon on a string. The balloon is a symbol of “go over the rainbow programming” and the trance state, and in this scene as he carries it on a string it speaks to me of his condition of being in a front alter.]

The earth laughs beneath my heavy feet
At the blasphemy in my old jangly walk
Steeple guide me to my heart and home
The sun is out and up and down again

[Levitation is not an uncommon experience in these rituals, and when witches are pictured flying on broomsticks and umbrellas there's more to that than just fanciful figures. When the party's over it's back to the heavy feet, anchored in this plane to the earthy and earth. I believe this also makes reference to the use of swings and other means of suspending trauma victims, including even the immersion in tanks of water.

(Webster's Revised Unabridged Dictionary) - jangly: “like the discordant ringing of nonmusical metallic objects striking together; sounding with a jangle; as, a custodian with a jangly set of keys.
Who's got the jangly walk but the one with keys on a ring, the programmer, who logs and keeps the codes that permit access to the slave's program structures and alters. There's much blasphemy in those codes where Bible references are imprinted over with Luciferian perversions. Programming is Satanic ritual and the invocation and participation of demons is inherent to the process. Video imagery: The rosy cheeked boys who are dressed like toy soldiers and march together as one marionette unit controlled by a single puppeteer is a telling image. They are the Illuminati mind-controlled slave army. Rosy cheeks signal ritual sodomy abuse.

The steeple is a phallic object (and religious element akin to an obelisk). The heart is a reference to the shape of the butt. This guiding to the home thereby makes reference to the role of ritual sodomy during programming. The sun god is out, present through ritual invocation, and sodomizing by proxy, up and down again. ]

I know I'll make it, love can last forever
Graceful swans of never topple to the earth

[The endurance of what they call love is a sick expression of the sadistic abuse that defines the relationships between handlers and slaves. Graceful swans of never are the sons of god who fell, a figure I'll expand upon shortly. They are behind the ritual sodomy and programming, in every sense.]

And you can make it last, forever you
You can make it last, forever you
You can make it last

[Video imagery: A rider on a white horse. Revelation 6:2 - counterfeiting Revelation 19:11-14. The boat hull with oars floating on the water present the Masonic square and compass, and the sex magick of a vesica piscis with Marian goddess inside, imagery that carries over from the Lady Godiva and goddess allusion of the previous set. ]

And for a moment I lose myself
Wrapped up in the pleasures of the world
I've journeyed here and there and back again
But in the same old haunts, I still find my friends
Mysteries not ready to reveal, sympathies I'm ready to return

[To lose oneself for a moment is the experience of a mind control slave who has another alter triggered. The former alter identity is then lost, dissociated, displaced. When the round trip on this journey is complete, they are returned, found as in the very next moment with no memory of what had transpired. “Haunts” is a very appropriate descriptive, given the demonic nature of the hosting. During such trance programming procedures as the “go over the rainbow” programming, program scripts and all memories are placed in the secret vault called the black pearl as mysteries not ready to reveal. ]

I'll make the effort, love can last forever
Graceful swans of never topple to the earth
Tomorrow's just an excuse, tomorrow's just an excuse
And you can make it last, forever you
You can make it last, forever you
You can make it last, forever you, forever you

[Video imagery: Uh, did Horus just make a cameo? Those sallow empty looking women with dolls are such a familiar image of the Monarch slave.]

Well, there it is, one more veiled presentation of how it is in the secret world of the agents of the Illuminati. Another song, another stealth weapon, unleashed into the world to work the spell of pharmakeia.

Many fans think this song is a reference to Christ, as you can read in this collection of comments on SongFacts. This impression illustrates how this song lyric is one more example like many others presented on this blog of how antichrist beast symbolism is wrapped in mind-control programming symbolism. It's evil genius. Wicked clever.

The “graceful swans of never” can be taken as an acronym, with swans of never signaling s.o.n or son. Graceful adds a religious overtone, grace, and who was it in a religious context that had a “grace-ful” - grace-fall or fall from grace? Who subsequently toppled to the earth, as it were? g.s.o.n. = sons of god = fallen angels.

1 Now it came about, when men began to multiply on the face of the land, and daughters were born to them, 2 that the sons of God saw that the daughters of men were beautiful; and they took wives for themselves, whomever they chose. ~ Genesis 6:1-2

I'll pick this up again in another post, Lord willing.

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