America's Fall and the Black Awakening - Decoding Kesha: We R Who We R

One of the items Aaron and I have been wanting to blog about for a very long time is a popular song and music video by Ke$ha. We R Who We R is like a pep rally for those who have been programmed with the mission to bring down America in the Black Awakening. Kesha claims the song was intended as a gay pride anthem, and some take it to be just that, but while the gay, or, sodomite connection is evident, that's only one layer of meaning. "We R Who We R" is a track on the album Cannibal, from 2010. Cannibalism and sodomy are two of the ritual acts or behaviors associated with the ancient gods and their worship. These are standard practice during SRA trauma-based mind-control programming. For some background, search the blog for Ke$ha and you'll find much to support what I'm positing here. If you're already familiar with the Sodomite Gateway and the Celestial Stargates posts that will help provide a foundation.

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.

I'm going to present this in a format where my commentary is woven in around the song lyrics to interpret what they mean alongside the music video's symbolic imagery.

As the video begins there's blue electrical discharge forming the shape of an eye. Then we're inside a tunnel with lots of flashing lights. Ritual sodomy illumination is pictured, with the tunnel as rectum and flashing lights as the illumination of the Horus Eye. Stargate imagery is apparent, with Silver then Gold celestial stargates pictured, with a transit in progress as shadowy figures approach back lit by the flames.

The video was filmed in Los Angeles and this is the 2nd Street Tunnel. Think GI tract - the tunnel of #2, excrement. Los Angeles, means “the angels” in Spanish, but the city's full name is, La Ciudad de la Reina de los Angeles, which means, “The City of the Queen of the Angels.” If you connect that with the Romish church and the Marian Queen of Heaven, and with Isis, you do well. The police car with the flashing lights on makes a show of the presence of authority, the angelic-demonic authorities. This scene is taking place inside the Los Angeles 2nd Street Tunnel, meaning inside the angel's butt. Why? To ritually acquire the angel's power, to empower an army.

(Marion Knox - Interviewing Deprogrammers: In the House of the Strong Man Sodomy is the Key)
“We have more sodomy now out in the open than we’ve ever had. Lot was in Sodom -- that’s where the word sodomy comes from. It meant anal sex, or as they’re calling it now anal intercourse. What other kind of sex do you think they could produce on those angels that they tried to break the door down to get to? They wanted to get their supernatural power. The belief in the occult world is if you could sodomize God, you’d get God’s power. You become as gods through sodomy; that’s the way the Greek gods became gods. Alexander the Great was a great sodomizer and his Greek army was the most fierce. Hitler tried to pattern his SS and military after the Greek warriors using sodomy. When you put that all together, the civilizations that God wiped out boiled down to the practice of sodomy.”

There's plenty of plausible deniability with the interpretations of the terminology but there's bits you just can't make fit unless you accept the esoteric interpretations.

“Hot and dangerous
If you're one of us then roll with us
'Cause we make the hipsters fall in love
When we got our hot pants on and up”

Kesha is leading a group of women into the tunnel with explosions behind them as she sings, “hot and dangerous,” making immediate reference to Beta-Delta female sex-kitten assassins. What's also hot and dangerous is butt sex with angels directly or by proxy. (Ke$ha Slept With A Ghost - CONAN on TBS) That's why they wear hot pants, which accent the butt. “Rock and Roll” is a euphemism for sexual intercourse. Rolling in the hay. The word “hip” is a Code 33 signal: h+i+p=8+9+16=33. Taylor Swift also names hipsters in her Illuminati ritual song titled “22.” They make the Code 33'ers fall in love and that's all about the sodomy, ritual sodomy, and the relationships between slaves and their handlers.

“And yes of course we does
We runnin' this town just like a club
And no, you don't wanna mess with us
Got Jesus on my necklace-ace-ace”

When the all female gang comes into view we see Kesha wearing a leotard covered in shards of reflective broken glass. Broken mirrors represent the shattered slave, with multiple identities. Their personality and identity is shattered and multiplied when they dissociate during traumatic ritual sodomy. Her garment speaks to Aaron and I of a Nachash suit, the shimmering hissing enchanter. It's a leotard - think leopard, the beast of Revelation 13:2. Another woman wears a feline print leotard, which is another classic symbol of the Beta programming, aka sex kitten programming. This programming is often used in conjunction with Delta programming, which makes them a psi-powered supersoldier. Think Delta forces. These assassin alters represent the deadly missions they are programmed with that have the most well defended cover. Kesha is wearing an ammo belt filled with cartridges draped over her shoulder.

Is that typical gay attire, even for an underground party? No, she's a sodomite warrior, Beta-Delta programmed, a Luciferian undergrounder prepped for special ops. They will literally be “runnin' this town just like a club” where bouncers provide what passes for security. She warns us, because you don't want to mess with them, challenging these “club bouncers” as they enforce the secret club rules.

In a very brief image flashed as the opening tunnel scene began we see Kesha in a position with her hands on the wall like she is being detained and frisked by a law enforcement official. This speaks to me that she's restrained, under someone else's authority. It also reveals how she's a "catch and release" - avoiding being taken into custody. She's above the law, authorized to bring chaos.

In the video she's not wearing a necklace around her neck, but has one large cross for an earring. She is seen in the video wearing a Rosary around her wrist. She's got Jesus on her necklace (ON - Heliopolis). There's an obelisk from On at the Vatican. Like the Pope, she's got Romish-Egyptian Jesus power, the authority of a Jesus Barabbas. That's not my Lord.

She wears a utility chain opposite the ammo belt, which is of a twinned torus construction to signal the Gemini-Taurus of the celestial Silver Gate, through which Horus is being invoked. The chain is like a mission patch or badge. Her mission is to prepare the way for Horus to emerge, to be received as the savior of man - Antichrist. The utility chain looped over one shoulder crosses over the ammo belt looped over the other. It marks her with an X, the mark of the sun god. In conjunction with the encircling loops, the circle X symbol of the mark of the beast is created.

“Got that glitter on my eyes
Stockings ripped all up the side
Looking sick and sexified
So let's go, oh, oh, let's go”

That verse is the first of three in a set that is repeated later and can be considered the chorus. She's got the glitter on her eyes, making them sparkle with illumination. Kesha wears eye makeup that resembles the ancient Egyptian Eye of Horus, with rows of little pyramids adorning her eyebrows. She wears a bracelet that has two rows of bigger pyramids. Her eyes are Osiris green.

She's got the activated Horus eye, which she signals later with two fingers making a triangle (anal triangle) next to her eye. The images of Kesha's face rotate through several versions where she wears different makeup. Each is as a separate identity suggesting by the switching that she is a multiple. Her stockings are ripped, indicating abuse and ritual trauma. She's looking sick and sexified, like a traumatized sex slave, but she's ready to go. An invitation to join her in going is a kind of command trigger.

When the song breaks into the next hook we hear the parts of the chorus that rock the 666 mark of the beast symbolism big time, a feature that really should speak very loudly to you!

“Tonight, we're going hard, hard, h-h-h-hard
Just like the world is ours, ours, o-o-o-ours
We're tearing it apart, part, part, p-p-p-part
You know we're superstars, we are who we are”

“We're dancin' like we're dumb, dumb, d-d-d-dumb
Our bodies going numb, numb, n-n-n-numb
We'll be forever young, young, y-y-y-young
You know we're superstars, we are who we are”

Count the repetitions in the stuttering. Slaves are trained to always count repeating items in a set. Hard - 6x. Ours - 6x. Part - 6x. The signaled 666 is associated in Revelation 13:18 with the beast and his mark. This is repeated in the next verse of the chorus - dumb x6, numb x6, young x6 produces another 666. Why would 666 be so cleverly signaled if this song was just an innocent dance club tune or a show of solidarity for gays or misfits?

A similar way of producing 666 is evident in the Prince song, Purple Rain, which I wrote about in Serpent Rain and the 666 of Purple Rain. He sings the chorus 3 times. Each comprises 6 repetitions of the words, “purple rain.” Six, six and six: 666!

Edgar Allen Poe crafted his classic poem, The Raven, with a similar embedding of 666. While I was studying the structure of the work, with an understanding of the raven as a demonic agent representing Apollo, I discovered how the 18 stanzas exhibit a subtle but distinct pattern of three sets of 6. I believe he was illuminated and that he concealed his secret in the first stanza.

“Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'” (Poe - The Raven)

In his own volume of the poem, it is the repetitive action that is the tell. Encoded in the repetitions forming the basic structure of the poem is the key - 6-6-6. It was the raven who was tapping, a bird long identified with Apollo. It's about the beast and his mark. Clever Devil. A string of double letter words appear in lines 3, 4 and 5, bearing testimony of 5-Horus as the visitor, according to the esoteric 47th problem of Euclid.

Lines from this poem were used by a serial killer who escaped from prison in season one of the hit show The Following. See this commercial for a highlighted sample promo. He used them to signal his army of programmed killers (The Followers). The serial killer's name is Joe Carroll - JC ~ Jesus Christ ~ a deranged Bible quoting messianic figure. His nickname is, “the prophet Joe,” and his idea was to lead them to salvation. The show was on the FOX (6+(1+5)+(2+4) ~ 6-6-6) network.

Back to the music video, on Kesha's fingernail we see symbolic jewelry, tiny handcuffs. She is a slave, bound to her handler and the entire organization. Ritual sodomy is the binding tie. There's a subtle dark X appearing on the fingernail itself, and together with an O of the handcuffs the ancient symbol of the mark of the beast appears, the circle X or XO. So, there is redundant signaling of the mark of the beast, repeated in the audio and the visual imagery.

The cars drag racing in the tunnel provide a subtle Baphomet signal. The more prominent car is Pontiac's classic muscle car, the GTO, which is known by the nickname; the Goat. In the context of the video, it's the Goat of Mendes - Baphomet. The dancing undergrounders (as inside the tunnel under ground, and as what the Luciferians are called) in the scene are holding their hands up in the air - waving Horus hands.

The pair of stuttering sets heard in the chorus are rhyming sets of three. The repeated chorus is composed of three verses. Illuminati programming: Hypnotic commands are given 3 times. In the following excerpt, the tripling of triggers is described, and we learn what is meant by the lyrics of the chorus and song title, We R Who We R.

(The Illuminati Formula to Create An Undetectable Total Mind Controlled Slave by Fritz Springmeier and Cisco Wheeler)
“3. THE PERSON’S SENSE OF IDENTITY IS LOST. The Monarch slave lose his/her sense of self to the cult and to the person’s master. No sense of where I begin & end, and where the Master begins and ends. The Monarch programming goes beyond what many cult have done, the alters are hypnotized to not see their faces, which is part of their identity.
4. ALTERED STATES & HYPNOSIS IS USED. The handlers/programmers use hypnotic techniques. They induce dissociation by songs, chanting, guilt inducing sessions, torture, isolation, as well as using songs, repeating triggers 3X, and lots of hypnosis.”

We R Who We R: “We” are the unidentified, the mind-controlled slaves. Like in Rango, “Who am I. Nobody.” It's not an existential crisis but the identifying expression of a multiple. This same matter is featured in Alice in Wonderland, a programming staple. The song is more than a catchy dance tune, it's a programming tool. It won't turn you into a slave but it will support the programming of an existing slave.

The two letters R in the title appear for the same purpose expressed whenever an instance of double R in TV titles shows one of them reversed. R = 18 ~ 6+6+6. When the chorus is sung an emphasis is placed on the R sound when stuttering hard, ours and part. Also the two Rs in the title signals 18+18 = 36 - the number of the magic square of the sun that produces 666 and invokes the sun god Horus.

Now, let's give some attention to the lyrics of the chorus. In the first verse the Delta program objective is openly revealed.

“Tonight, we're going hard, hard, h-h-h-hard
Just like the world is ours, ours, o-o-o-ours
We're tearing it apart, part, part, p-p-p-part
You know we're superstars, we are who we are”

When the superstar agents are triggered, they will tear the world apart. These are superstars, code for chosen ones, merged with and powered by fallen angel commanded demons. Stars are angels. Los Angeles.

The second verse uses a code word for the Delta alter program execution, dancing, like in SuckerPunch, like Jessie J in “Price Tag,” who just wants to make the world dance.

“We're dancin' like we're dumb, dumb, d-d-d-dumb
Our bodies going numb, numb, n-n-n-numb
We'll be forever young, young, y-y-y-young
You know we're superstars, we are who we are”

When the Delta alter and mission is triggered the expendable agent has no sense of self preservation. Dumb - mindless. Numb -their state disconnects them from pain and isolates them from their bodies. The promise of being forever young is in being immortalized, and literally this is the hope of the illumined, immortality, eternal youth. “We'll be forever young, young, y-y-y-young.”

This has nothing to do with being misfits or gay, except how it may apply to the chosen ones appointed for the bringing of chaos during the Black Awakening.

When we see the mob run across the tunnel in front of the police car with flashing lights, we should see that they have been activated. Many of the police are programmed agents. They will provide support for those bringing chaos. Transportation hubs and key access points like tunnels and bridges will be targeted for efficiency of control, bringing traffic and travel to a standstill. No escape, no entry for services, provisions... The population will be trapped for reduction and control.

“DJ turn it up
It's about damn time to live it up
I'm sick of being so serious
It's makin' my brain delirious”

The DJ provides the cues and the sound track for the underground party. The DJ represents the Illuminati programmer, who knows the codes and gives the trigger signals according to plan. The mind-controlled delerium is ramping up, and the agents are living for the moment they are activated.

“I'm just talkin' true
I'm tellin' you 'bout the sh*t we do
We're selling our clothes, sleepin' in cars
Dressin' it down, hittin' on dudes, hard”

If this is all about being gay, why are the women hitting on dudes? Oh, because they are Beta-Delta warriors, and they are all about the literal beat down. The sh*t they do is referencing the ritual sodomy, and the other ritual activity involved. Kesha and crew are telling us true, if we know how to and care to listen. Selling their clothes and sleepin' in cars indicates how they are completely dedicating their resources to this effort without compromise.

In this scene inside the underground dance club we see the DJ's have the website Plenty of Fish on screen. “The World's Largest Online Dating Website.”

A dating website collects and maintains a database of personal information. The authorities have the population catalogued, thanks to Plenty of Fish, Google, Facebook, Twitter and every other social networking site. They know who to target and what to expect from them. The Lord Y'shua haMashiach told Peter he would make him a fisher of men. Fish are people in the context of harvest, and the symbol of fish is often seen in connection with Christ and Christians. The Plenty of Fish site pictured on the DJ's laptop screen suggests their primary targets are the saints. When the time comes to cross off those who are perceived as threats off their lists, they will have quite an advantage. Have you seen “Deus Ex Machina,” episode 23 of season 3 of the CBS (all seeing eye network) TV show Person of Interest? (Thanks Beverly) The J. J. Abrams show's plot puts a lot of what's actually planned right out in the open.

The club is serving drinks, 100 proof Mexican tequila, Revolucion brand. They are pouring out the spirit of revolution. The label features a pair of six shooters. Did you read the news about the 36,007 convicts being released by the US ICE in 2013? Where do you suppose the vast majority immigrated from? Kesha now appears wearing a tattered American flag for an outfit. Connect the dots. This dance is all about revolution in America.

The three verses of the Chorus are heard again, for the second and last time, followed by this unique verse that has more stuttering signals:

“DJ turn it up
DJ turn it up
DJ turn it up
DJ turn it up”

The DJ or programmer gives the code trigger, turning up the volume, amping up the intensity. Giving attention to the counts, the first three lines present a stuttering of 7s. The number 777 is the biblical gematria identified with the cross. It signals sacrificial death, which is of course followed by resurrection. The voice of the third line is altered, calling attention to it. Three is the resurrection number.

We see in this scene Kesha posing on top of a tall skyscraper like a golden haired goddess. Kesha's look is an homage to the dance club look of the decade of the 80s, when the "artist of the decade" was Madonna -- Queen of Heaven - Isis. The building appears from angles that make it resemble a pyramid. She lets herself fall backward off the building, in free fall to the ground with her arms held out like she's on a cross. Sacrificing herself like Jesus, like her Jesus, for her Jesus (Barabbas). She is saved, caught miraculously by the crowd like she's crowd surfing at a club, supported by the Horus Hand crowd of worshipers - Horus resurrection. As soon as she hits the crowd on the ground, the electrical celestial eye appears in a bright flash. It's the illumination of the immortal “forever young” life of the beast resurrection, which will transfer to the crowd of supporters, worshipers, through the mark of the beast That's why we see the electric eye superimposed over Kesha and the Horus Hands up crowd, with lots of bright flashing lights. The eye of Horus illumination is pictured with alternating flash back images from the opening scene's GI tract tunnel and stargate, tying it all together for us, because of the key role ritual sodomy has played in advancing man toward a merging with the beast.

With the altered voice of the 3rd line and then followed by a unique 4th line, This is the 3 and 4 called out to signal the production of Horus through the union of Osiris-3 and Isis-4.

Because the first 3 lines each produce a 7 and the 4th produces an 8, this is another example of the key pattern, “three things and then a fourth,” which identifies this present Shemitah (2012-2019) as the one bringing the anticipated end of the age with all expectation of promises being fulfilled.

The number 8 represents a new beginning. The 7-7-7 cross symbol is followed by a new beginning. Death and resurrection. It's a messianic beast and phoenix story, as the flaming firebird rises from its own burning ashes, in a new form.

The song closes with the last two of the three verses of the chorus, presenting us with another doubling of the stuttering presentation of 666. Those two verses are heard three times in the song, stuttering 666 a total of 2x3 (hypnotic programming) or 6 times.

Consider what Kesha has been wearing. Her outfit resembles a tattered American flag. Kesha's look has been channeling Madonna with her cross earring and the trademark hair and the Rosary (Like a Prayer) and the dance club fashion of the era when Madonna reigned as Queen because Madge did a “Rock The Vote” commercial for MTV in 1990, and this link identifies Kesha with the republic even more strongly. (Madonna identified herself with the gay community as a promotion of the sodomite god, just like Kesha, and so many others.) When Kesha falls from the skyscraper rooftop she represents the republic, America, falling to a lower level, a lesser status. That's the big deal. See America fall from the heights - down, down, down, while the music is paused for emphasis - to gather the viewer's raised energy that is poured in to fill the void. From the way the city lights appear in the brief flashes of background offered during the closing dance scene, it looks like they are dancing on another rooftop, but one much lower than the building Kesha fell from. That's the operation. The Black Awakening is not intended to completely destroy America but to reset it to a much lower level, an easily manageble level.

The surviving army of chosen ones will celebrate when their missions have been completed.