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BEST SUMMATION OF BARACK AND MICHELLE OBAMA EVER
To:
Date: Wednesday, April 24, 2013, 3:57 PM
Mychal Massie is a respected writer and talk show host in The other evening on my twitter, a person asked me why I didn't like the Obama's? Specifically I was asked: "I have to ask, why do you hate the Obama's? It seems personal, not policy related. You even dissed (disrespect) their Christmas family picture." The truth is I do not like the Obamas, what they represent, their ideology, and I certainly do not like his policies and legislation. I've made no secret of my contempt for the Obamas. As I responded to the person who asked me the aforementioned question, I don't like them because they are committed to the fundamental change of my/our country into what can only be regarded as a Communist state. I don't hate them per definition, but I condemn them because they are the worst kind of racialists, they are elitist Leninists with contempt for traditional America . They display disrespect for the sanctity of the office he holds, and for those who are willing to admit same, Michelle Obama's raw contempt for white America is transpicuous. I don't like them because they comport themselves as emperor and empress. I expect, no I demand respect, for the Office of President and a love of our country and her citizenry from the leader entrusted with the governance of same. President and Mrs. Reagan displayed an unparalleled love for the country and her people. The Reagan's made Americans feel good about themselves and about what we could accomplish. His arrogance by appointing 32 leftist czars and constantly bypassing congress is impeachable. Eric Holder is probably the MOST incompetent and arrogant DOJ head to ever hold the job. Could you envision President Reagan instructing his Justice Department to act like jack-booted thugs? Presidents are politicians and all politicians are known and pretty much expected to manipulate the truth, if not outright lie, but even using that low standard, the Obama's have taken lies, dishonesty, deceit, mendacity, subterfuge and obfuscation to new depths. They are verbally abusive to the citizenry, and they display an animus for civility. I do not like them, because they both display bigotry overtly, as in the case of Harvard Professor Louis Gates, when he accused the Cambridge Police of acting stupidly, and her code speak pursuant to now being able to be proud of America. I view that statement and that mindset as an insult to those who died to provide a country where a Kenyan, his illegal alien relatives, and his alleged progeny, could come and not only live freely, but rise to the highest, most powerful, position in the world. Michelle Obama is free to hate and disparage whites because Americans of every description paid with their blood to ensure her right to do same. I have a saying, that "the only reason a person hides things, is because they have something to hide." No president in history has spent over a million dollars to keep his records and his past sealed. And what the two of them have shared has been proved to be lies. He lied about when and how they met, he lied about his mother's death and problems with insurance, Michelle lied to a crowd pursuant to nearly $500,000 bank stocks they inherited from his family. He has lied about his father's military service, about the civil rights movement, ad nausea. He lied to the world about the Supreme Court in a State of the Union address. He berated and publicly insulted a sitting Congressman. He has surrounded himself with the most rabidly, radical, socialist academicians today. He opposed rulings that protected women and children that even Planned Parenthood did not seek to support. He is openly hostile to business and aggressively hostile to Israel . His wife treats being the First Lady as her personal American Express Black Card (arguably the most prestigious credit card in the world). I condemn them because, as people are suffering, losing their homes, their jobs, their retirements, he and his family are arrogantly showing off their life of entitlement - as he goes about creating and fomenting class warfare. I don't like them, and I neither apologize nor retreat from my public condemnation of them and of his policies. We should condemn them for the disrespect they show our people, for his willful and unconstitutional actions pursuant to obeying the Constitutional parameters he is bound by, and his willful disregard for Congressional authority. Dislike for them has nothing to do with the color of their skin; it has everything to do with their behavior, attitudes, and policies. And I have open scorn for their constantly playing the race card. I could go on, but let me conclude with this. I condemn in the strongest possible terms the media for refusing to investigate them, as they did President Bush and President Clinton, and for refusing to label them for what they truly are. There is no scenario known to man, whereby a white president and his wife could ignore laws, flaunt their position, and lord over the people, as these two are permitted out of fear for their color. As I wrote in a syndicated column titled, "Nero In The White House" - "Never in my life, inside or outside of politics, have I witnessed such dishonesty in a political leader. He is the most mendacious political figure I have ever witnessed. Even by the low standards of his presidential predecessors, his narcissistic, contumacious arrogance is unequalled. Using Obama as the bar, Nero would have to be elevated to sainthood... Many in America wanted to be proud when the first person of color was elected president, but instead, they have been witness to a congenital liar, a woman who has been ashamed of America her entire life, failed policies, intimidation, and a commonality hitherto not witnessed in political leaders. He and his wife view their life at our expense as an entitlement - while America's people go homeless, hungry and unemployed." | | Tea Party and 9-12 Member 
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A government big enough to supply you with everything you need is a government big enough to take away everything that you have...The course of history shows that as the government grows, liberty decreases.
Thomas Jefferson (1743 - 1826)
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The Open Scroll Blog
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Posted: 26 Apr 2013 08:25 AM PDT
 Candy Crush Saga is a popular game for both iOS and Android smartphones. In March 2013, it became the most popular game on Facebook with 45.6 million average monthly users, surpassing FarmVille 2. The brand and game imagery features mind-control symbols.
Here's a commercial I saw yesterday.
Caveat: If you're a victim of ritual abuse who is still being delivered, or if you're easily offended by mature subjects and descriptive language, you might not want to continue here.
 Candy Crush Saga Commercial
The logo's heart was a pretty obvious symbol of the butt that caught my attention right away. Also, Candy Crush = CC and since C=3 it is a 33; signature Masonic degree and graphic image of engaging sodomite butts! The busy rainbow of colors floating, rising and dropping spoke to me of "go over the rainbow" programming. See here for some background: Yoplait Umbrella Commercial After a few moments of considering the meaning of the brand imagery it became apparent that the word anus was wrapped around the heart. Clever.  The colors red and yellow blend to orange, another sodomy signal and a third layer of redundancy: heart + anus + orange.
That creepy little girl has cheeks like eyes that make the other element a third eye. See how the curve of the mouth frames the pupil? This is the illumination symbol that usually accompanies ritual sodomy signals, as I've demonstrated in the sodomite gateway series.
I noticed her wierd dress looked like it had horns for sleeves so I flipped it over. Yikes! The angry Baphomet appeared! See the dark circles under his eyes, golden ears, a chin with beard? He's dressed up for the occasion with a sodomite bow tie. The mouth is a Masonic Royal Arch and squared circle! So, that's not really a mouth, it's the other end of the GI tract.
Check out the Masonic square and compass in the hat/dress. Pretty sly.
If that wasn't enough, they layered in even more "33" numbering in the way they tied the two words together. Matching to the reclined 3 at the top of the heart is this opposing 3 at the bottom.
 Candy Crush Saga is a celebration of the edible candy which, in the context, pretty clearly indicates copraphagia, and pedophelia.
I thought the an+us trick seemed familiar. Sure enough. Orange Crush played the same bit! Illuminati mind-control.
I wondered about what more might be in the popular game's name and there are some interesting anagrams that can be found. I think the reason why the Candy Crush is a saga probably relates to the ancient gods, who are worshiped by the Illuminati.
Saga:
a. A prose narrative usually written in Iceland between 1120 and 1400, dealing with the families that first settled Iceland and their descendants, with the histories of the kings of Norway, and with the myths and legends of early Germanic gods and heroes.
b. A modern prose narrative that resembles a saga.
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Posted: 25 Apr 2013 05:22 PM PDT
 This is a continuation of the previous post, "Donald for Donald." You might want to open it in another window so you can reference it while you read this because I'm going to address different elements of that same scene. There's more layers of both Monarch programming and antichrist beast symbolism masterfully woven into this episode.
Engaging with this material brings a conviction to many of us about how we've been so undersold on the evil genius of the Devil's work among us. As the Lord provides, let's make the most of this season as the spiritual war in the heavens and on earth waxes great. Don't take any revelation insight opening to you or the trials you are experiencing for granted, which come by much grace. Let me encourage you once again to take hope in the Lord, who is our refuge and who is faithful!
Caveat: If you're a victim of ritual abuse who is still being delivered, there may be triggers ahead so be forewarned.
The main subject of this reunion scene in Act 1 involves the boy. September responds to Walter's query about what he is by relating a story of how the boy came to be, divulging also the back story of the Observers. For some Fringe plot context, the Observers are waging war against mankind.  One of the Observers (kind of a Herod figure) is going to target the boy, who is already known by those assembled in September's apartment to be the key to their salvation from destruction at the hands of the invading Observers. An important action in the scene involves a old fashioned music box. The song it plays makes plain sense when you identify it as, "What Child is This?" Most who make that connection will remember it as a religious Christmas song. Obviously, the song title echo's Walter's question so the logical conclusion is that the song's context holds the answer, that he is as the Christ child, the savior of man. That insight provides a satisfying reason for the music box's role in the plot but there's more to be read into it than just that.
I've already identified September/Donald as a Monarch programmer and Messiah figure, more precisely, antichrist. Obviously, the boy is another antichrist. We're going to see this scene as an enactment where September is a slave and also the boy's handler, and both of them are antichrist Beasts. The antichrist symbolism appears to be wrapped inside the SRA programming symbolism to model to us a version of the False Prophet and Antichrist Beasts of Revelation 13.
The box on September's coffee table looks like a book with pictures of two butterflies on the cover. It contains a small music box. Donald removes it from the box and plays it long enough for us to identify the tune, then gives to Michael/Anomaly XB-6783746, who also plays it. It's a simple mechanism that used to be very common. Those I'm familiar with were always wound with a key then turned on and off with a lever, but this one requires turning a little crank. The tune it plays is "What Child is This?" but it's also known as "Greensleeves." This is more than just an toy to entertain him while the adults discussed important matters. There's some profound symbolism in all this!
The butterflies signal Monarch programming. The box looks like a personalized hand made book because programmers keep such a log book for each slave that contains program structures, access codes, triggering signals and gestures (like I wrote about here). I believe the larger of these two butterflies represents the adult handler, Donald, and the smaller, his boy slave. Michael is a chosen one, a genetically groomed multiple, and the book is his programming log, kept by Donald. The objects in the box would of course be related to Michael's programming. I believe this plays symbolically on more than one level.
What Donald and Michael do with the box dramatizes a programming session. The handler takes the box and turns the crank so the music plays.  In this instance, the program is this simple ritual. Programs of various kinds might be installed and rituals are one common kind. When Michael then does what Donald did we see the slave has learned the ritual. Mind-control programming is often done when the slave has been placed in a trance through ritual sodomy and this is what is being signaled by the song titled "Greensleeves." From the song's Wikipedia entry: " One possible interpretation of the lyrics is that Lady Green Sleeves was a promiscuous young woman and perhaps a prostitute. At the time, the word "green" had sexual connotations, most notably in the phrase "a green gown," a reference to the way that grass stains might be seen on a woman's dress if she had engaged in sexual intercourse out-of-doors." Having grass stains on the sleeves would suggest sodomy more particularly.
I believe the music box in this programming dramatization represents more than just some kind of ritual, that it's also a trigger. When Donald played it he turned the crank, a trigger gesture, and the tune it played was a trigger. This, along with perhaps the producing of the object from out of a box with butterflies on the cover, appears to represent a standard three part trigger code to activate Michael, whose immediate response was to repeat what Donald had done because that's what he was programmed to do in response to that trigger.
This action involving the music box takes place right after Walter has asked what the boy is. Donald responds to the question by demonstrating the answer, that he is a chosen one and his slave. This kind of demonstration process is common in the Bible, especially in the Gospels. The Fringe folks are not stupid, and they have lots of help with this mind-control working.
There's more here because there's antichrist symbolism wrapped around the handler/slave interaction. When we recognize the activity as an activation sequence and consider the symbolism of Donald and Michael as antichrist beasts we can identify this scene as a prophetic modeling of the Beast's "activation" by the false prophet! Biblically, this is what's called the revealing of the lawless one in 2 Thessalonians 2, which I've often described as the sign to the Bride. As I've written at length, John the Baptist was Yahweh's appointed High Priest. He "activated" the Messiah, so to speak, by baptizing him in the Jordan where Y'shua subsequently received the anointing. After forty days of temptation in the wilderness, Y'shua emerged to begin ministering as Yahweh's anointed. The Devil's plan hinges upon a counterfeit, element for element, including an activation of his chosen one by his anointed high priest, who is presumed to be a chosen one who is demonically programmed to carry out that key ceremonial ritual. (The high priest's office is that of the Pope, and that very agent might be the Jesuit who was just installed in the Vatican.)
Read the lyrics of "What Child is This?" until it really sinks in how this song heralds the arrival of the Messiah. Then, watch the Fringe episode, and when you see this scene enacted, put the words to the tune as Donald activates Michael. When Michael repeats the activation ritual he announces his own arrival and possibly signals the implementation of the mark of the Beast, the anointing-activation of others!
If that interpretation seems like I might be reaching, there's a precedent for this that was set in 2008. During the London Ceremony at the close of the Olympics in Beijing this same song was played to herald the arrival of another model of the antichrist Beast! It was playing while the bus rolled in to the bus stop at the crosswalk. The song was heavily obfuscated, sampled in with a similar song (We Three Kings), but some of us were able to pick it out from the carnival like blend. I documented my observations here (Olympic Ceremony Symbolism). You can listen to it in a  brief audio clip I posted here, which includes a reversal of it at the end and a traditional church organ version in the middle. The Fringe folks weren't reinventing the wheel, just giving it one more spin!
When the roles played by Donald and Michael are understood to be those of the false prophet and the Beast and the key interaction as a dramatization of the baptism that reveals, replaying the scene where they meet in the hall outside the apartment exposes that as a preview of the same. It's evil genius, wrapping this too in the sodomite handler/slave symbolism. They illustrate this critical scenario once, then again, expanding on it to present their cryptic message with redundancy.
As you can see in the sequence of screenshots below, when Donald greets his visitors in the hall, Michael has a purple hood pulled over his head. Donald approaches him slowly and, kneeling down, he pushes the hood back to uncover his head. On one knee before him, Donald touches hands with Michael, and the camera has swung around to present their joining against the appropriate background.
In a prophetic modeling of the revealing of the lawless one, we see Donald kneeling before the boy as the false prophet humbling himself before the Beast. With the hood covering his head, he is hidden, but Donald's act of uncovering his head represents the baptism and anointing that reveals! With an understanding of the supernaturalism of headcovering's glory language (as declared in 1 Corinthians 11), the uncovering of his head exposes the glory of his "head," which will be the Dragon (Revelation 13:4). As these two touch hands, they join, in a blessing that is actually cursing, as the transfer is notably from the Papal high priest's left hand. As the camera sweeps around, the backdrop changes, momentarily bringing into view a pair of lamps on the wall flanking a doorway that signals a dimensional portal in familiar imagery common to so many Masonic scenes. This pre-enactment pictures the crux move that the ancient dragon has eagerly anticipated for a very long time!
When the camera finishes the sweep, we see the pair framed as in the last screenshot above, with the bright sun light streaming into their sanctuary through the portal windowed doors. That's a metaphor for spiritual illumination and also a testimony about the heavenly glory that will attend the ceremony and become manifest in the earthly realm. Some of you may recall how the same prophecy was dramatized in Beijing during the Olympics London Ceremony, where the lighting feature was provided by the bus lights.
These are not the only two witnesses to the revealing! The redundancy I've been seeing as I become more familiar with their symbol language is staggering in scale! That event and other key elements of what's coming have been expertly embedded into our entertainments and marketing media for a very long time!
Interpreting other elements, we see the high priest wearing the vest, his Papal vestments and blue-of-heaven shirt. The one who stands before him wears the royal purple of a king's robe. The setting of the hallway in front of Donald's apartment and, with attending witnesses, presents this as a semi-public ceremony at a place that is at that time associated with the high priest, and we'll see soon enough whether the reality unfolds as pictured.
All that is wrapped in sodomite handler/slave symbolism, just like in the music box scene that happens once inside the apartment. The purple hood worn by the boy is a redundant signal of sodomy, by the color and by the hood that I've illustrated from the examples of Humpty Dumpty of Puss in Boots, Kenny of South Park and most recently from the Hello Kitty Fairy Tale dolls of a recent McDonalds promotion. When Donald pushes it back off Michael's head, the engagement identifies them as sodomite pedophile handler and slave. The roles they play are supported in the scene by how Donald and Michael are positioned right in front of another handler-slave pair! When Olivia was a girl, she was one of the subjects in a special institute Walter ran in Florida. They have a handler/programmer and slave relationship that is probably the most obvious of the entire series. By positioning Donald in front of Walter and Michael in front of Olivia, they have doubled the handlers on one side and the slaves on the other, superimposing one set on the other!
To be continued, Lord willing! 
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UPDATE: The first instance of sodomy after the Great Flood began with Mizraim, also known as the mythological figure An/Anu, the Egyptian sky god. Apparently Nimrod (also called Gilgamesh in Mesopotamian/Sumerian mythology) spent some time with Mizraim and Mizraim brought this practice to his attention, Mizraim having practiced this on one or more wives and concubines. Nimrod tried it, liked it, then incorporated it into what we now know as the Babylonian Mystery religion. All Mystery Religion cults are offshoots of this first one, and the practice of anal sex is featured in almost all of them. |
| Congress not spending enough of our money, it appears... |  | Source: weeklystandard.com Congress is preparing to take action on a bipartisan proposal to raise taxes on flu vaccines. This is not a tax on the wealthy, but rather on a broad swath of Americans, or at least those who choose to be immunized against the flu. | | | kodiak241@yahoo.com sent this using ShareThis. Please note that ShareThis does not verify the ownership of this email address.
The Open Scroll Blog
| Monarch Programming in Fringe - "The Boy Must Live" - Donald for Donald Posted: 23 Apr 2013 07:32 PM PDT In the previous post I introduced this episode from the fifth season of Fringe where the mind control programming theme was exhibited in a few visual cues that were heavily supported by NLP. The folks responsible for Fringe know profound secret things and they're concealing and revealing plenty of what they know about what is, what was, and what's coming. The scene that follows what I featured in that post plays as a sentimental reunion of old friends. Again, it's allegorical, spilling the beans about Illuminati control and the antichrist plot in a remarkable way! I'll describe the setting but it will help if you watch the episode, which you can do online, at least for now at this link on fox.com. Fringe: The Boy Must Live This featured scene is located at time 14:07-18:18, but I recommend watching at least the entire first 20 minutes. If you can't watch it, you can read a good summary here: Fringe Episode: "The Boy Must Live" The transcript comes courtesy of Fringepedia.net. Transcript: Fringe Episode: "The Boy Must Live" Caveat: If you're a victim of ritual abuse who is still being delivered, please move on. Here's the featured scene. Act 2: Donald/September's Apartment - Filling In The Blanks
SEPTEMBER: How did you find me?
PETER: We've been relying on the tapes that Walter made in 2015, trying to piece things together.
WALTER: We found the radio that you left in the pocket universe, and that led us to the boy, and he showed me where to find you.
OLIVIA: The couple that you left him with called him Michael.
WALTER: It's been quite a journey.
PETER: We've lost a lot. A lot of good people sacrificed themselves to get us to you.
WALTER: So - your turn. What happened to you?
SEPTEMBER: Before The Invasion, I was apprehended for my continued interference in the timeline, and my interaction with all of you. As punishment, they removed my device. Now, I'm no longer able to move through time or do the things that I was able to do. They experimented on me. They called it biological reversion. Now, I am no different from you. Truthfully, it wasn't much of a punishment. I've always held this era in the highest regard.
WALTER: And why the name Donald?
SEPTEMBER: You really don't remember, do you? The first movie we watched together was Singin' In The Rain, and I chose the name Donald O'Connor.
WALTER: Yes! It was an excellent movie. I used to sing Make 'Em Laugh - - wonderfully - - in the key of "A" minor.
SEPTEMBER: I remember.
WALTER: What is he?
[music box with butterflies]
SEPTEMBER: He was born hundreds of years from now. Like all of our kind, he was created in a lab, using the genetic material of a designated donor. It was a process that began generations earlier, with a discovery on February 20th, 2167, by a scientist in Oslo, Norway, who was trying to find ways to increase human intelligence. He realized that if he could rewire the portion of the human brain that induces jealousy, he could increase cognitive function, sacrificing emotion for intelligence. This discovery was the catalyst of the creation of the beings that you called Observers, and his work carried on, and more and more emotions were seen as roadblocks to higher intelligence. Things like anger, greed, aggression, they were abandoned in the pursuit of intellect. Eventually, Humanity became so intelligent and efficient, they lost perspective of the value of these emotions - - Not only the negative ones, but the positive as well, and soon empathy, compassion, and love became messy distractions, and they too were machined out, and without romantic love, they developed new reproductive technologies. The most obvious sign of Monarch programming has to be the butterflies on the book-like box that contains the music box. It's the Monarch butterfly connection. Comparing to that is the highlighted pyramid shape of the nearby geometrical object that says to most folks, "Illuminati." Because the classic film "Singin' in the Rain" is an Illuminati programming masterpiece ( parts 94-101), the tribute paid to it is perhaps the biggest tip off in the scene! This flags the presence of other programming signals. Did you notice this poster on the wall of September's apartment? If we ignore this film reference and simply focus on what's going on with the child there would still be plenty to discuss, but in this post we're not going to pass by this nugget that seems so lightly tossed our way.  Those who aren't familiar with the referenced film will miss the clever revelation of how September's name is not really giving tribute to Donald O'Connor but to another Donald, the character played by Gene Kelly who had the starring role. Instead of choosing the name to honor Walter, what's implied is that September/Donald is really the star, and I'll explain how shortly but here's one reason why. September is the Observer, i.e. Watcher, a star of fallen angel. He is a messiah figure, a god becoming man, having undergone biological reversion to now manifest in their time just as normal humans, with his divine abilities having been "uninstalled." He was instrumental in saving everything due to the "crimes" for which he was apprehended, as he testified: " Before The Invasion, I was apprehended for my continued interference in the timeline, and my interaction with all of you." The clever swap draws attention to this important identification, which is the basis for a key insight. To understand how we're being directed to adjust the character identities you have to be familiar with the film. When Walter said " I used to sing Make 'Em Laugh - - wonderfully - - in the key of "A" minor," he was referring to a comedy routine in the musical that was performed by Donald O'Connor. He did sing but it's his dancing that was really notable. What betrays the switch is Walter's mention of singing in the key of A minor, which has to be seen as either superfluous chatter or a sly reference to another of the film's most memorable scenes. Near the close of the film, the actress and presumed singer in the film's pretend inner-movie, Lina Lamont, is on stage. Her acclaimed vocal talent has actually been dubbed by another girl all along in the inner movie. When the live audience calls upon her to sing, she knows she's in trouble. An arrangement is made where she'll lip-sync it. They put Kathy, the real voice, behind the curtain with her own microphone. Lina walks back on stage.  Here's the dialogue. Orchestra Conductor: What are you going to sing, Miss Lamont?
[Lina retreats back to the curtain where she takes direction from the vocalist.]
Kathy Selden: Singin' in the Rain
Lina Lamont: Singing in the Rain
Orchestra Conductor: Singing in the Rain. In what key?
[Lina retreats back to the curtain for more direction.]
Kathy Selden: A flat
Lina Lamont: In A flat What makes this scene so memorable is because Lina has become an unbearable primadonna and bully and she is set up by the crew to dramatically receive what they feel is her due. This is what you see in these screenshots. We see her humiliated in front of the crowd as she's lip-syncing the song when the curtain is pulled back to reveal the actual vocalist, the "real star of the movie." I believe Walter's "A minor" alludes to this famous scene's "A flat" to signal us that a similar fraud is being perpetrated, not a lip-sync substitution of one voice for another but one identity for another. There are two Donalds and one of them is the humanized September's namesake; just not the one the audience is superficially shown! Rosco: What's your name?
Don Lockwood: Don Lockwood sir, but the fellas all call me Donald. The Donald identified by September's misdirection is the actor, Donald O'Conner. The real star of the show is Donald Lockwood, Gene Kelly's character. We are to switch the Donalds, just like how one scene in "Singin' in the Rain" was substituted for another by Walter's clever "A minor" bit, and how that scene we were redirected to highlighted a switching of characters. Now, why would Fringe want to game us with this little swap? It plays on one level to imply that September/Donald is Walter's handler. It does this because Donald Lockwood/Gene Kelly was the Monarch programmer, which became very apparent during the series of blog posts I referenced previously. Yet, there's something else I feel is more significant being signaled on the messianic level, which I introduced above. September is the star, the fallen angel who underwent biological reversion and became a man. He's a messiah, but there's another. When we talk about antichrist, the word breaks down to "anti" and "christ." The prefix is popularly understood to mean "against," and the characterization of such a spirit or man is therefore "against Christ," but an antichrist is also a substitute, an impostor, "instead of Christ." This is what the swap is about; one Messiah for another. From a saint's perspective, the Antichrist will be soon offered to man and this impostor will be accepted as their Messiah. From the upside-down perspective of those who believe the Luciferian lie, which includes the folks behind the Hollywood productions being featured, Lucifer is the true god and he will anoint his own son who may then seize his rightful throne in a coup that displaces the supposed fraud who now sits at the right hand of the throne of God. This is what the clever "Singin' in the Rain" ruse is about! When Lina's lip-sync fraud was exposed, the real star took her place, Kathy. The Luciferians see my lord Y'shua as a "Lina" who will soon be replaced by their champion, a "Kathy," the real star. By the way, the name "Donald" means "dark stranger" and "ruler of the world." Look it up! I'm taking the time to fuss over this for you so you see their boastful presentation of the antichrist masquerade they know is coming and see very graphically how they think in their twisted and perverted nature. In these cryptic messaging systems that are theatrical productions, if you can understand the language they use you can read the plot and motives in their own words. I would be remiss if I didn't finish all that off with the closer, with what followed Lina's exposure at the theater. Don Lockwood had to win Kathy back after she took offence at how she had been used to deal thus with Lina. He woos her back with this song, which ends the film. Interpret this as a love song for their real star, Lucifer's champion Apollo, Amaru, the coming Beast who will be their "Donald," "dark stranger" and "ruler of the world." You are my lucky star
I saw you from afar
Two lovely eyes
At me they were gleaming
Beaming
I was star struck
You're all my lucky charms
I'm lucky in your arms
You've opened heaven's portal
Here on earth for this poor mortal
You Are my lucky star Yes, their lucky star is coming, who does now open heaven's portal here on earth for mere mortals and who will on yet another level when the mark of the Beast arrives. This is not fantasy, folks. Those who run this world know it, and they relish telling us so in language most just don't understand. Those who believe the Bible and what the holy spirit reveals know it too! More to follow, Lord willing!  |
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