Decoding Taylor Swift's "22" and the BMA Ritual Exposing the Theater of Witchcraft

At the recent Billboard Music Awards (BMA), Country Music songwriter and singing star Taylor Swift added to her impressive collection of awards. She won 8 of the 11 for which she was nominated, including Top Artist. If you understand the Occult meaning of the song and of the routine she performed at the 2013 Billboard Music Awards you have insight into why she is so enormously popular. You'll also have an amazing window of insight into what really goes on backstage and underground at these public ritual events! I wrote a little about her performance earlier this week (2013 Billboard Music Awards - Celebrating the Illuminati Slave-Handler) but there's much more to be known!

Many who come here to read this will think, “What do I care about this, I don't listen to her or watch awards shows?” Millions do, however, and what insight can be gleaned from this helps us understand what the Lord is revealing to us about our world and what He's doing in it, exposing the work of our Adversary as he works the deceiving pharmakeia of Mystery Babylon in our midst.

This young lady's second album, “Fearless,” was the best selling country album of 2008 and 2009, and it has become the most awarded album in country music history. “Fearless” is the only album in history to win the all-genre Album of The Year Grammy. Fairytale imagery was featured on the album and it has been noted that she explored the disconnect “between fairy tales and the reality of love.” “To celebrate the final day of her Fearless concert tour, Taylor Swift added a bit of sparkle to her customary number 13 she draws on her hand for each performance. She Tweeted the picture above to show her fans.”(Taylor Swift Blings Out Her 13!) That picture she tweeted is below, lower left in the collection, with an un-blinged version appearing above it.

The 13 is a symbolic number associated with the beasts of Revelation 13, with the meanings of rebellion and lord, as in Baal. Note where the mark appears.

And he causes all, the small and the great, and the rich and the poor, and the free men and the slaves, to be given a mark on their right hand or on their forehead, ~ Revelation 13:16

If this 13 she was accustomed to marking on her right hand isn't supposed to represent that mark, what else could it possibly mean? I believe she is one of the slaves, a Monarch slave, a chosen one.

If you followed the sodomite gateway series you should be able to interpret the message of the image on the right, above.

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, you may not want to continue here.

She is standing in the rain, holding up an umbrella, of course. Oh. Um, it's a heart sign, actually. A heart sign? Yes, what she's cleverly not telling us is that a heart sign is equivalent to an umbrella in symbol language. They represent the butt, and the rain is the semen of the gods. It's an expression of ritual sodomy. The heart sign and symbol is one of her trademarks. Web search images for Taylor Swift Heart and you'll see quite a collection. With that symbol as part of her brand identity, there's nothing ambiguous here.

Is her 13 a way of “not telling us” she's one of the 13 Illuminati bloodlines, a chosen one? That's not so rare. “Her father, Scott Kingsley Swift, is a Merrill Lynch financial adviser. He was raised in Pennsylvania, and is the descendant of three generations of bank presidents. Her mother, Andrea (née Finlay), is a homemaker who previously worked as a mutual fund marketing executive.” (Wikipedia) Wow, Grandpa was a 3rd generation bank president! Mom and Dad were in the biz. She grew up on a Christmas tree farm in eastern Pennsylvania, attending preschool and kindergarten at the Alvernia Montessori School, run by Franciscan nuns. That's some grooming! Pennsylvania ~ Pan's Woods.

Taylor Swift's reputation and image is that of a sweet and kind of innocent girl, and with a perception of her as being good, many who are turned off by the hip hop and rock cultures are attracted to her. She's a role model for many young girls. Yet, the only real good in the world is that which belongs wholly to the only One who is truly good, as the Bible makes plain. Although it may be difficult to look at everything we held dear and see the world as it actually is, it will be a far better end for those who can accept this reality. Ignorance is not bliss. Delusion is leading to destruction. When the blind lead the blind, both fall into the ditch and that's a very bad place to find yourself.

The song Taylor performed at the BMA is simply titled, “22.” Here's video of that routine.

Taylor Swift - "22" (2013 Billboard Music Awards)



Here it is on YouTube if that DailyMotion player technology isn't working for you.

This song “22” is a single released from last year's hit album, “Red,” and it's only very superficially about the joys of being a 22 year old. What it's really about is the celebration of a special Satanic ritual night, perhaps at a full moon or a Friday the 13th, or one of the many others celebrated on the Pagan calendar like a solstice or Walpurgisnacht, Beltane or Samhain. Based on the lyrics, it appears to be for a graduation of sorts, and perhaps it was celebrated in conjunction with her 22nd birthday. Whatever the ritual is that's being celebrated, it involves blood ritual sacrifice and mind-control programming with handlers and slaves, sodomy and witchcraft. I'll be decoding what I understand of the lyrics, then validating elements from the BMA performance. First, the title, the meaning of the number 22.

Here's a quote from a study I did, explaining the meaning of the number 22, which was key to interpreting one of two signs I received during the study.

“Early in this study I described a sign that involved 22 penny rolls. One thing I received from this sign means is that the bell, as a symbol of death and mortality, is the most important signification. The number 22 can be understood by expressing it as 11*2. The 22 rolls represented $11. "Eleven" signifies the flesh of man as grass and the flower of grass, frail and ephemeral - here today and gone tomorrow. "Two" signifies division. "Twenty-two" signifies the division of the flesh that ultimately results in the death of the flesh. The number 22 is thus a numerical emblem of mortality that compares to the bell. The number 22 can represent the work of the cross in the life of the saint but is not limited to that single perspective.” (Bells - Supernatural Enchantment and a Biblical Perspective)

The Devil isn't stupid and neither are many of those who serve him. They know things. Like the esoteric meaning of numbers. If you watch the official VEVO music video for “22” you'll see Taylor hand signaling the titular number with her hands, and holding up two fingers, sometimes with both hands. That's a 2 and 2 for 22 but also 11 and 11.

When an Illuminist crosses their arms or legs when signaling, like you see in this screenshot of Taylor from that official video, what they are saying is that up is really down, left is right, their message is twisted. (See Meanings of the Letter X, Esoteric and Otherwise) She is letting us know she is being duplicitous, misrepresenting, misdirecting, speaking with a forked tongue.

Skeptical? Take a look at some other captures from the video. Using the fork as a pretend microphone while lip synching Taylor, what is that saying, really? How many ways do we need to be shown the forked tongue to catch on to the fact that we're being conned by the fork-tongued serpent seed agents? See the shirt with the sodomite olive branches? Fork that olive? See the pyramid with the capstone being filled with blood-like elixir to be drunk at the party? Catching on yet?

When Taylor hand signs the 22 I think she's mostly making scissors, like in a Rock, Paper, Scissors game. Eleven eleven, and scissors, for cutting. Acknowledging the esoteric meaning of the number, the scissors cryptically signed are for cutting flesh, not paper. This particular “entertainment” is mass ritual involving the cutting of the flesh for ritual sacrifice, human sacrifice. You'll see how this interpretation finds validation in the BMA performance.

This song is on her album titled “Red” and is being performed on her “Red” tour. I believe this color is signaling blood sacrifice, and Adam, which means, red, and also the Illuminati bloodline. The name Rothschild means “red shield,” and I suspect this album is an homage to that banker family heritage. I believe the color signal connects to the red colored clouds bracketing the rainbow cloud that is suggestive of Illuminati “go over the rainbow” programming. Red balloons were dropped during the BMA performance, which has to be taken as part of the programming ritual. Some may see it as a political statement about communism or leaning left towards liberalism and, as suggesting the left as in the left hand path, that does speak to me. The Illuminati slave army is out for blood, mostly those of Adam kind. The flesh division theme of 22 is in keeping with “Red” symbolism.

Practicing or formerly practicing witches should find the theme of the song very familiar.

Taylor Swift's “22” - Lyrics, with commentary

It feels like a perfect night to dress up like hipsters
And make fun of our exes, ah ah, ah ah
It feels like a perfect night for breakfast at midnight
To fall in love with strangers, ah ah, ah ah

[My commentary: The ceremonial robes are donned as they “dress up like hipsters.” “Exes” as former lovers? Not on the esoteric level. “Exes” are h-exes, the spells that are about to be cast. They “make fun of our hexes,” not in a mocking way but by enjoying their magick ritual, reveling in the feeling of the exercise of power as they sing and dance. It's “a perfect night for breakfast at midnight” because sustenance is required for the demands of what is commonly a 3 AM ceremony. At the third hour it marks 60+60+60 minutes, a 666. “To fall in love with strangers” relates to sex magick and the supernaturalism of the unity experienced by participants in the ceremony. It's not necessarily the strangers who going to be the objects of that love. This also makes reference to a sex orgy. ]

(Pre-Chorus)
Yeah we're happy, free, confused and lonely at the same time
It's miserable and magical oh yeah
Tonight's the night when we forget about deadlines, it's time

[Why would celebrating being 22 years old be miserable? How is 22 different from another age in that respect? It's really not. That's just pretext. The mind controlled SRA slave is constantly conflicted, happy, free, confused and lonely all at the same time. It's miserable, and magical, which combine in the ritual abuse that leads to trauma and dissociation. Trauma-based mind-control programming describes the installation of demons, a magickal activity that requires extremely intense misery to trigger dissociation. Many ritual nights are opportunities for programming and reprogramming. “Deadlines, it's time” - bringing the calendar and clock to mind, which are important considerations for Pagan ritual. Also, forgetting about deadlines and every other matter of the external realities must be put out of mind. Forgetting about dead-lines and deadlines cuts you off from the past and future, isolating you in the now, which can be an essential part of programming and requisite for the success of those practicing ritual magick.]

(Chorus)
Uh oh, I don't know about you but I'm feeling 22
Everything will be alright if you keep me next to you
You don't know about me but I bet you want to
Everything will be alright if we just keep dancing like we're 22, 22

[Feeling 22 suggests being in a dissociative state. The 22 is the division of the flesh, of the mind as bound to a concrete reality, separated from that single reality. It's a splitting of personalities to create multiples through twinning or mirroring alters. The number 22 is a matched pair of 2s, twinned. Thus, as from an alter being anchored by a handler or programmer, “Everything will be alright if you keep me next to you.” The alter identities are isolated as compartmentalized, discreet, and there is no ability for intercommunication. “I don't know about you...” “You don't know about me but I bet you want to.” “Everything will be alright” is repeated twice to indicate that what goes on is traumatizing and even life threatening. The victims sacrificed lose their lives, of course, and in a deep trance state as during programming the abused victim's heart can stop and breathing can stop. I believe there is also here the expression of the comfort taken by trauma victims who happen to be mere witnesses, which is traumatizing enough, but who aren't presently being made to participate directly in the ritual torture and sacrifice. “Dancing” appears to be a metaphor that describes when a mission is being carried out as programmed, while the other alters are paused, oblivious. I think it ultimately refers to the mission of bringing the chaos of the Black Awakening. Like Jessie J sings in the evangelizing “Price Tag,” “We just wanna make the world dance, forget about the price tag.” See the movie, SuckerPunch. I believe the dance is also the Spiral Dance, done in the magick circle, which I'll explain shortly. ]

It seems like one of those nights, this place is too crowded
Too many cool kids, (who's Taylor Swift anyway? ew) ah ah, ah ah
It seems like one of those nights we ditch the whole scene
And end up dreaming instead of sleeping

[Somebody's not going to survive this night's activity: “this place is too crowded.” Some little ones are going to be iced: “Too many cool kids.” The slave has identity issues; “who's Taylor Swift anyway?” “Who am I? I'm nobody,” they are trained to respond. During the programming ritual, the slave will abandon the external world reality entirely to "ditch the whole scene." Their memory of it will be suppressed, buried. They will “end up dreaming instead of sleeping” because they will be awake but elsewhere mentally, gone somewhere “over the rainbow,” fallen down the rabbit hole to find themselves in Wonderland or blown off in a vortex into the land of Oz, in a dissociative trance state. In prison slang, a “ditch” is the furrow between the buttocks, and “ditch the whole scene” may also be heard as “ditch the hole scene,” suggesting a reference to the ritual's orgy being focused on anal sex.]

(Pre-Chorus)
Yeah we're happy, free, confused and lonely in the best way
It's miserable and magical oh yeah
Tonight's the night when we forget about the heartbreaks, it's time

[“In the best way,” which is a perspective they're programmed to accept. Forgetting about the heartbreaks refers to the suppression of the memory of the ceremonial night, the trauma and the abusers, the names, places and faces. Given the heart as butt metaphor and that the ritual sodomy enlightening initiation is a breaking of the cherry with reference to rough and bloody anal sex, that's one of the miseries that will explicitly be forgotten. As a hypnotic command, “it's time.” Now - forget. Get it?]

(Chorus)

(I don't know about you) 22, 22

(Bridge)
It feels like one of those nights, we ditch the whole scene
It feels like one of those nights, we won't be sleeping
It feels like one of those nights, you look like bad news
I gotta have you, I gotta have you

[This ritual night's ceremony features a celebration of graduation. “You look like bad news” so now you're the victim. “I gotta have you.” The slave becomes a handler. ]

(Final Chorus)
(Bridge Repeat)

It's an SRA ritual night! This song's lyrics echo the testimony of insiders, whistleblowers, bell ringers and bean spillers who describe how they have come to be the way they are and do the things they do.

Now, consider the routine Taylor Swift performed for this song at the 2013 BMA ceremony, which features just such a ceremonial ritual! Here's the video link again. Taylor Swift - "22" (2013 BMA) on YouTube

As it begins, we're backstage at the MGM grand in Las Vegas. Yet, it's a staged setting perfectly fit for the unfolding drama. We see her and her reflection in the mirror, presenting a multiple as with a mirrored twin alter. We know she's a special kind of multiple by the star on the door. She's a chosen one. A bouquet of roses is there, and what is “sub rosa” are the thorns, the seed of the serpent also known as tares. This is their domain. The rose is like their calling card. More calling cards appear in the wall constructions, masonry for Freemasonry. The cinder blocks are cement bonded with mortar, as slaves and their handlers are bound together through ritual sodomy. The navigation of halls with doors is more common mind-control programming imagery, representing the organized matrix or labyrinth structures programmed into the slave's mind.

There's plenty of plausible deniability here for those who want to dismiss these elements as “just what was there and so common it means nothing.” Yet, this is what we're shown, and in the context, this is what it means. What is NOT so plausibly denied is the count of role playing characters in the scene during the first pre-chorus. Here's a picture of a coven performing the celebrated ritual! Watch the video and count for yourselves.

She enters a meeting room with two women, one with long dark hair and a yellow frock, and one with short dark hair wearing glasses and a fringed streamer blouse. There's a woman by a floor lamp all in black with a light scarf around her waist. Around the table there's a guy in a white t-shirt, another in a green shirt with rolled up sleeves, a woman with bright red hair, a woman in an orange dress, a guy with glasses in a black hoodie at the end of table and a guy in a purple shirt with white ear buds. At the back of the room there are two guys at a workstation and a guy in a plaid shirt standing near the board. Count them. There are twelve, and with Taylor, thirteen - a coven!

Here's what she's singing during that scene.

“Yeah we're happy, free, confused and lonely at the same time
It's miserable and magical oh yeah
Tonight's the night when we forget about deadlines, it's time”

She's wearing the magical unicorn and singing about a magical situation, celebrating a ceremonial night ritual because deadlines allude to the calendar. Taylor jumps up on the table and dances. The table is a ceremonial altar. On one level, all the hands on the table tell us these are the handlers and Taylor is the slave on the altar, seated on her bottom, which to say being sodomized. Or, as the high priestess she is being ceremonially enthroned. Members of the coven dance all around it. They circle around, and this is doing what witches call the Spiral Dance. It's a Cone of Power, used to open a vortex. This is an energy raising method, swirling and building and amplifying the energy for release. When she leaves the circle she is let down and rolled out on her throne, released into the universe as a charged object on a mission to fulfil what the ritual's energy was built up to accomplish.

Is this all sinking in? Taylor Swift did receive 11 BMA nominations, winning 8 awards including Top Artist. Is there some correlation here?

Did you notice the Aboriginal man they pass at the corridor leading to the ritual room, the one with the sign, AUTHORIZED PERSONNEL ONLY? Wearing ceremonial attire and brandishing a ceremonial spear, he's the requisite guard for the ceremony. He is as a guardian priest of Amaru possessing weapons of both natural and supernatural kinds. The mask suggests he's operating as a Delta programmed alter with psi power, a guardian alter and spirit gatekeeper. Confirming the context, a pair of Vegas showgirls appeared in the routine. Their outfits signal that they were priestesses of the sun god Amaru via their feathered boas, FEATHERED SERPENTS! You can see them in the full DailyMotion video, but that part is unfortunately clipped from the YouTube version. Feathered boa girls also appear as priestesses when Taylor enters the back of the orange lit region and is celebrated with climaxing glitter guns and ascends up the into the step pyramid temple of the sun god.

The set may well be underground, and I can say for certain that the rear of the theater setting represents the bowels, and when she mounts the back of the stunt bike and is ridden out through the darkened pyramid shaped curtained opening, that's the anal portal, and her emergence is celebrated with applause in the gallery!

Are you seeing what you're looking at? If you only get one thing from this post, I pray you get this. See this revelation of what goes on backstage as reality. Dedicated rooms exist at many venues for the performance of ritual magick that supports what happens on the public stage. When insiders blab about such things you can believe them. This BMA routine is a bold and open witness to what supports such events as this award ceremony behind the scenes. Olympic ceremonies, the kinds that attend product releases, staged news events and every kind of public ritual has support behind the scenes. It may be on location but it may also be taking place remotely. Watch the video again and let it speak to you about why the world is how it is today. It is just as the Bible says it is.

Taylor's outfit has plenty to say. She's wearing the unicorn t-shirt with vintage Navy style britches. I already offered a good interpretation of the magical unicorn in the other BMA post, including mention of how, “the rainbow and magickal unicorn support the Osiris, Isis and Horus theme” that was featured in Justin Bieber's and Selena Gomez's performances. There's a connection with her top to Egyptian sex magick, and with her bottom also as she gives a nod to an industry standard.

Taylor's high waisted hot pants are reminiscent of those worn by the Mahout girl in the Pharmacy window during the famous scene from Dancin' in the Rain. She was inside the magick circle as the Egyptian high priestess and was the pictured victim of ritual sodomy, as you may recall. Her outfit in that scene made it appear like she might have been at the beach and was dressed for swimming. On the water, the navel tradition has been considered to be one of sodomy. (Attributed to Winston Churchill: “Don’t talk to me about naval tradition. It’s nothing but rum, sodomy and the lash.”)

This song “22” is primarily about ceremonial ritual that includes flesh cutting, and, as this is on the album “Red,” you have to know it's about blood sacrifice.

25 So Elijah said to the prophets of Baal, “Choose one ox for yourselves and prepare it first for you are many, and call on the name of your god, but put no fire under it.” 26 Then they took the ox which was given them and they prepared it and called on the name of Baal from morning until noon saying, “O Baal, answer us.” But there was no voice and no one answered. And they leaped about the altar which they made. 27 It came about at noon, that Elijah mocked them and said, “Call out with a loud voice, for he is a god; either he is occupied or gone aside, or is on a journey, or perhaps he is asleep and needs to be awakened.” 28 So they cried with a loud voice and cut themselves according to their custom with swords and lances until the blood gushed out on them. 29 When midday was past, they raved until the time of the offering of the evening sacrifice; but there was no voice, no one answered, and no one paid attention. ~ 1 Kings 18:25-29

“And they leaped about the altar which they made” and “cried with a loud voice and cut themselves according to their custom with swords and lances until the blood gushed out on them.” They did that because this is how it's done. Baal, Amaru, Apollo, Thor; he's a bloody god. Ultimately, his prophets lost that contest on Mt Carmel and their lives were forfeit. Today, the servants of that god will fare no better. While a season is appointed them for limited success, when that limit is reached and the sovereign God's purposes are fulfilled, time's up. Game over. Accounts will be settled in the lake of fire.

My coverage of the material here leaves much on the table. It's rich, indeed! As I wrap this up, I want to give a little attention to some of her song titles and lyrics and another recent award ceremony performance.

“Red,” the title song of her latest album, is about the slave's bloody initiation and bond with her rough sodomizing cherry busting handler, and having it wiped from memory.

“Forgetting him was like trying to know somebody you've never met
Cause loving him was red yeah yeah red
We're burning red
And that's why he's spinning round in my head
Comes back to me burning red
Yeah yeah
His love was like driving a new Maserati down a dead end street”

Other songs titles you should understand as esoteric include such as “Never Grow Up” (the chosen one's childhood core persona that will never grow up), “Starlight” (fallen angel illumination), Eyes Wide Open (seen that 1999 Stanley Kubrick movie yet? BRACE YOURSELF! It's shocking.), Tied Together With a Smile (Tie that binds+Smile “bend over and crack a smile”= redundant ritual sodomy) I Heart ?... All this evil in song lyrics is not unusual but is rarely packaged in such a presentable wrapper that captures the respect and affection of so many. She is adored and exalted as a role model and parent approved, in contrast to those of the typical Disney child star turned crazy whore formula.

The Grammys

Of all the Illuminati mind-control programming extravaganza's I've seen, I don't think I've seen one that tops Taylor Swifts performance at this year's Grammys in February. She co-hosted with rapper LL Cool J. (Rock the Bells, Big Ole Butt, G.O.A.T., Exit 13...) She didn't win any of the top Grammys. The Album of the year Grammy was awarded to one titled, “Babel.” Right. You can watch a version of it here. Taylor Swift - 2013 Grammy Award Performance - We Are Never Getting Back Together. Between that and the pictures on the Daily Mail site you'll see why I say it's so over the top.

Her routine represented a huge disconnect. The song she sung was “We Are Never Getting Back Together,” which seems to me to mean just what is suggested by the title. I's a song about breaking up. She had recently broken up with boyfriend Harry Styles and that was played up as a stunt, as you can tell from the link above. The visuals of the set and costume design was all about Wonderland, dramatizing Lewis Carroll's series about Alice, classic SRA mind control programming script. Instead of playing the character “Alice,” like in her music video of the her song by that name, Taylor played a Mad Hatter character. One has to wonder what is meant by the mismatched song and set. The official music video for the song she sang had some pretty bizarre imagery but it wasn't Alice in Wonderland. Had they changed the song choice at the last minute to capitalize on the attention given the celebrity break-up? Perhaps. Or, perhaps the mismatch was intended. Mind-controlled slaves need no continuity, have no continuity, no real sane thread of logical procession. The break up bit played sure set everyone up for the BMA performance of “22,” for the part about “making fun of our exes,” right? Major misdirection!

Is this just a fairy tale non sequitur fun set?

A victim is bound to the sacrificial altar. His butt is the bullseye target and the center of the spiral vortex. The conical hat is superimposed over the vortex to redundantly signal the witches' Cone of Power. He's displayed like the Vitruvian Man catcher. One character has assumed the position to expose her bottom as the sodomite bottom. The others including Taylor wear top hats because they are the sodomite tops. The orange umbrellas are signaling the anus. The white rabbit has hearts on him, whose “rabbit hole” is fallen down to get to Wonderland, the sodomy induced dissociative state. Above the stage, performers float around with orange umbrellas. If this doesn't mean much to you, you really haven't been paying attention.

Taylor Swift. Role model. Yikes! What an upside down culture. The Devil has been playing the “masquerade as an angel of light” bit for a long time. It works. Until it doesn't, and that time is coming, right on schedule.