The Hollywood Agenda

Appendix C - The Music Industry

Appendix C - The Music Industry






Cunningly disguised in there is a disk that took me 5 years to make.


This music video by Enya is called “Anywhere Is.” It is from the album The Memory of Trees (think Mímir and Yggdrasil), which was released in 1995. Entrapment, shown above, was released in 1999.

Enya acts as the Holy Spirit in the video, guiding us in the way which is right. Both eyes are associated with the Moon simultaneously, signifying that the Moon (the consciousness of Christ or Yahweh, rather than of the Antichrist, symbolized by the Sun or Venus/Sirius), is the Third Eye and the bridge between the 2 hemispheres. The box which she opens is “A Box of Clouds,” i.e. Heaven. When she passes through the clock showing 3:00 (the end of the world), she comes into a room with 4 doors, rather than the usual 3, showing that there is another option available to us which the Illuminati don’t want us to know about. The right way, it turns out, is Door #1, which takes her to 4D:








I walk the maze of moments [the labyrinth of time], but everywhere I turn to begins a new beginning but never finds a finish. I walk to the horizon and there I find another [door/timeline]. It all seems so surprising and then I find that I know.
You go there [Door #1], you’re gone forever. I go there [Door #2], I’ll lose my way. If we stay here [Door #3], we’re not together. Anywhere is.
The Moon upon the ocean is swept around in motion, but without ever knowing the reason for its flowing. In motion on the ocean the Moon still keeps on moving. The waves still keep on waving and I still keep on going.
I wonder if the stars sign the life that is to be mine and would they let their light shine enough for me to follow? I look up to the heavens but night has clouded over, no spark of constellation, no Vega, no Orion.
The shells upon the warm sands have taken from their own lands the echo of their story but all I hear are low sounds as pillow words are weaving and willow waves are leaving, but should I be believing that I am only dreaming?
To leave the thread of all time and let it make a dark line, in hopes that I can still find the way back to the moment, I took the turn and turned to begin a new beginning. Still looking for the answer, I cannot find the finish. It’s either this or that way; it’s one way or the other. It should be one direction; it could be, on reflection, the turn I have just taken, the turn that I was making. I might be just beginning, I might be near the end.


This is just one example of many possible showing that the symbols we have discussed in this book are used to represent spiritual illumination, not just by Luciferians and Satanists, but also by people who represent the other side of this spiritual dichotomy and may not even know what they are doing. That is, God may be speaking to us through them without their knowledge. However, usually the lyrics show that the artists have real spiritual understanding when they come from Europe, as opposed to the pretentious Masonic occultism demonstrated so well by American pop, rap and hip hop artists. We have chosen Enya’s “Anywhere Is” to show this because that’s where the inspiration led us, but the same type of spiritual understanding is demonstrated just as well by the Swedish band Ace of Base, shown below. “I saw the sign,” the group sings, “and it opened up my eyes.” The sign is shown to be a combination of the Egyptian ankh, djed and was, which together represent life, the union of opposites, Kundalini and the Holy Spirit as the Third Eye. There are also other several other symbols which commonly signify the Holy Spirit, and the video ends with an image of the band representing the merkabah:






We have selected a few more music videos which we think best show the use of the symbols discussed in this book, in line with the Masonic interpretations given in the film industry. These are not in any particular order, except alphabetically by artist. This one is “Outta My Head” by Ashlee Simpson:




“Meet Me Halfway” by The Black Eyed Peas features Fergie as Eve reaching for the Galactic Center and then traveling through a cubical mirror to meet (as Lucifer, who she is in love with) on the moon of a planet that looks like Jupiter, where he digs up the common symbol of the Five Worlds from Kabbalah. “The Apple” (, i.e. ‘da apple’) uses a yad (a pointer used by Kabbalists in reading the Torah) to find a pyramidal mirror gate. Taboo uses the Sun to “build a bridge to the other side.” In the end, the 4 group members are seen as falling to Earth as shooting stars, implying that their “meeting halfway” means descent into materiality:






“The Time (Dirty Bit)” by the same group features the Galactic Center at the beginning and end of the video, a time tunnel, a lyrical reference to the Apple (“Mirror, mirror on the wall, who’s the baddest of them all? Yeah, it’s gotta be the apl”), and cubes throughout:






“Imma Be” (i.e. I Am Becoming) features a cyborg theme which is exceedingly common:




Janelle Monáe’s first studio album The ArchAndroid (Suites II and III) is a sequel to her EP Metropolis: Suite I (The Chase). Both clearly show the “becoming a cyborg” theme which is exceedingly prevalent in the hip hop music industry. All of the major monarch hip hop artists are pushing this theme, and all have adopted alter egos which they use in their performances. For example, Beyoncé Knowles goes on stage as a cyborg/android named Sasha Fierce and mimics scenes from Fritz Lang’s Metropolis. Likewise, Don Omar becomes iDon, who is created when he is strapped down to a table and implanted with metallic objects. In Janelle’s case, her alter ego is named Cindi Mayweather, an android which she refers to as “the other,” the same term that Johnny Depp, for instance, uses to refer to his demon. Janelle, whose personal logo is a red Blazing Star between ‘Janelle’ and ‘Monáe,’ is from Kansas, just like Dorothy in The Wizard of Oz. She has stated that the character of Dorothy has influenced her performances—an obvious admission of Monarch programming.

The video for “Tightrope” shows people dancing in “The Palace of the Dogs.” Dancing “has long been forbidden for its subversive effects on the residents and its tendency to lead to illegal magical practices.” This is a dystopian world ruled by mirror-faced wraith-like entities who clearly want total control over the residents. One of the dancers does robotic movements as though she is a cyborg while another is pulling her puppet strings in mime. In the end Janelle is stopped and forced to go back to her room:






Katy Perry’s “E.T.” is one of the most openly revealing dramatizations that we’ve seen of what the Illuminati are preparing us for. Katy is shown to be a grey alien floating in outer space, becoming human by transforming into the Red Queen, and then becoming the Reptilian-eyed White Queen when she goes through her Luciferian initiation. Kanye West is in the role of Lucifer. Like Fergie in “Meet Me Halfway,” Katy is in love with him and wants to breed with him. The miscegenation is most obvious when she has descended to Earth/materiality and it is shown that she has become a satyr, ultimately walking off toward the Sun with the Black man in white body paint whom she (like Janelle’s alter Cindi does in ArchAndroid) has awoken from his sleeping android state:







Kylie Minogue’s “The One” shows that she believes her alter Aphrodite to be the Holy Grail:




LCD Soundsystem’s “Pow Pow” shows Anna Kendrick playing the Devil in the role of Aphrodite. The video begins with an open book that says, with the All-Seeing Eye in the background, “At Midnight she came to collect the souls of Wicked Men.” This is shown to consist of her passing through trans-dimensional portals to meet with rap and hip hop artists, offering them contracts to sell their souls via some sort of lawyer, and when they refuse, blasting their Third Eyes with Masonic symbols. In the end, each of the artists who had initially refused the offer is shown being nervously led into a Masonic lodge, where a politician, a military general and a police captain are already waiting, and where she finally emerges to initiate them:











The Spice Girls’ “Viva Forever” (i.e. Live Forever) features a Rubik’s Cube as well as the Cosmic Egg, which the group emerges from. The Cosmic Egg has importance in the genesis of both Aphrodite and Mithras, and has recently been adapted as one of the most important symbols in the pop music genre. In this one a boy is seduced into entering the cube, presumably the center (the bridge/stargate), when Baby Spice (Aphrodite) blows fairy dust at him. His friend solves the cube and puts it back into an egg, which is then thrown into a toy dispenser. The second boy then walks away, apparently separated from his friend forever:







We now present a compendium of album covers and a few other images to demonstrate the types of symbolism which the music industry regularly employs. This is by no means intended to be an exhaustive list of all the musical artists that have used the symbols we have discussed, but rather a representative sample across most of the major genres over the last few decades to show how prevalent the symbolism is in pop culture. By now you should know what to look for and what the meanings of the symbols are, so we will not be explaining them. The ones which we think may still need explaining will be commented on later on the Well of Urd site.





























































































































You may have noticed that the people who are “in the know” (the White males, and almost exclusively White and non-American females) are the ones who have covered their right eyes, while the monarchs being used by the establishment in ways they can’t even comprehend (the Blacks, women and homosexuals/bisexuals) have covered their left eyes, signifying their own death and ignorance. See for yourself just how laughably pretentious some of these people are:




It’s not as though wannabe Illuminati like Jay-Z, Beyoncé, Kanye West, Lady Gaga and Christina Aguilera would ever be allowed to be a part of the governing council of the New World Order. Whatever they may happen to think, their “enlightenment” is sheer idiocy. Being given some sort of compensation for your soul doesn’t make you equal to your master. It does exactly the opposite. These people are merely pawns of the real Illuminati, like U2’s Bono:




As for what the Illuminati have planned for the rest of these idiots, apart from short-term financial remunerations for actively supporting their agenda, it is no different than what they have planned for everyone else who isn’t smart enough to avoid the trap of their ancient conspiracy. They’ve told us plainly what they intend for the rest of humanity, right down to the various details of the different stages, and it looks nothing like a “Golden Age.” That American hip hop artists like Janelle Monáe only know about 4 of the 5 stages is evidence not of their complicity in the conspiracy, but of their brainwashing, ignorance and stupidity.

The Illuminati don’t want a world of androids. They want a world of grey cybernetic organisms.