Nov 16, 2017A scathing police report from the alleged sexual assault of a teenage girl by Sylvester Stallone and his bodyguard has just surfaced.
Shocking revelations have just come out detailing a police report filed on Sylvester Stallone for the alleged gang rape of a 16-year-old girl. Unlike previous instances of he said, she said, this case was documented—as soon as it allegedly happened—to the police.
The incident reportedly took place in Las Vegas with then 40-year-old Stallone was filming the hit movie Over the Top in the late 1980s.
Sylvester Stallone was accused of sexual assault by a 16-year-old girl while he was filming a movie in Las Vegas in the late 1980s, according to a bombshell police report obtained by DailyMail.com.
The Rocky actor was 40 years old when an unnamed teenager disclosed to Las Vegas police that she had been ‘intimidated’ into having sex with him and his bodyguard Michael ‘Mike’ De Luca at the former Las Vegas Hilton hotel in July 1986.
The 16-year-old claimed she had sex with Stallone and he encouraged De Luca to join them. At that point she became ‘very uncomfortable’ with the encounter but felt she had ‘no choice’.
De Luca then forced the teenager to perform oral sex on him before penetrating her, while Stallone made her give him oral sex, according to the police report.
To confirm the validity of the report, the Mail reached out to retired Las Vegas Metro police department detective sergeant John Samolovitch, who was head of the sexual assault unit at the time, and he confirmed that it is indeed a true copy.
After the alleged incident, the teen told police that she was threatened by Stallone as he turned to her and told her that if she said anything about it ‘they would have to beat her head in’, before laughing with De Luca.
READ MORE:Child Task Force Cop Caught Viewing Child Porn at Work, Molesting and Stalking Kids — 29 Times!
According to the police report, the unidentified teen ultimately decided against pressing charges against either of her alleged attackers because she feared for her life as well as being “ashamed and humiliated.”
According to the Mail:
Police were alerted to the incident when a hotel employee called police to report that a friend of the victim said she needed advice on the matter.
When officials tracked down the teen, she relayed details of the alleged assault to them.
She said she was staying at the Las Vegas Hilton hotel with family friends for 10 days, from July 18 to July 28, during the time that Stallone happened to be filming at the hotel for the upcoming movie Over the Top.
The teen said she met actor David Mendenhall, who was playing Stallone’s son in the film, at the hotel’s arcade and he introduced her and her cousin to Stallone on Wednesday, July 23, 1986.
*** De Luca then gave her two keys for a room on the 27th floor and told her to go up to the room as soon as possible,’ according to the police report.
That night, the teen claims she went up to the 27th floor where she met Stallone and De Luca in the hallway and together, they all went into the hotel suite.
From there, the teen said she and Stallone went into the bedroom, got undressed and began having intercourse, while De Luca stayed in the bathroom. The teen told police that they ‘really didn’t have sex’ because Stallone only inserted himself ‘a little ways’ into her and ‘only kept it in for a few seconds’.
Stallone remarked to the girl that she was ‘very tight’ before asking her if she ever had sex with two men at the same time, according to the report.
The report continued: ‘She indicated that if the sexual encounter had only been with Stallone, she would not pursue this matter, but due to the fact that Mike, the bodyguard became involved in the sexual incident, she didn’t know what she wanted to do.’
Ultimately, the extremely upset teen told police she didn’t want to press charges, saying, “I’m kind of scared and I’m very ashamed. I don’t want anybody else to have that happen to them, but I don’t want to prosecute. I cannot talk about this anymore, please leave me alone.”
While the report cites the fact that the victim chose not to press charges on her own, a woman who was allegedly present during the police testimony says it was the cops who told her not to pursue it because Stallone was powerful.
This incident was also reported on by the Baltimore Post Examiner, who “interviewed the mother of the victim’s girlfriend who was chaperoning the victim on their Las Vegas trip. She was present with the victim when she was being interviewed by the Sexual Assault Unit detectives.”
According to Doug Poppa, who conducted the interview, “She told me that the female detective had talked the victim out of pressing charges, telling her that Sylvester Stallone was powerful, had money and would drag her through the mud. She said that was a deciding factor as to why no charges were pressed.”
According to the Examiner, who also interviewed the victim last year, the woman, now 46, said that the incident has haunted her for three decades, but has come forward because she wants Stallone to understand how his actions have impacted her life. The Baltimore Post-Examiner does not identify names of victims or children of sexual incidents.
“He should be ashamed of himself, what he did to me affected my life and destroyed me,” she said in an exclusive interview with the Baltimore Post-Exam
After the incident, some cops still thought some sort of punishment should be issued and on July 30, LVMPD detectives confiscated De Luca’s gun permit. Below is a copy of the original report showing that police temporarily stripped De Luca of his concealed carry permit after the allegations.
So, we all know David Bowie’s masterpiece, “Space Oddity.”
At least, I hope we do. Anyway, I thought it would be interesting to share this little tidbit, since I for one had always just assumed that Bowie’s weird glamour was the result of some personally inherent magic. In the past few years, I’ve been exploring the phenomenon of Outsider Music, and in doing so, I have discovered that the essence of Ziggy Stardust was rooted in the obscure High Strangeness of an iconoclastic Texan known to his friends as The Ledge, aka Norman Carl Odham, aka the Legendary Stardust Cowboy.
“No one knows what’s going to happen when the Legendary Stardust Cowboy takes the stage. Decked out in a cowboy hat and boots, spurs, leather chaps, and a jean jacket with his name emblazoned on the back, the 69-year-old singer carries a bugle and shoots off a pistol filled with blanks. He may ride a stick horse around stage and he’ll probably strip down to his underwear, but he never plays the same show twice.”
I really like the fact that, when you first hear him, he sounds like Johnny Cash. But then: oh, the discord! The off-key huffing and wailing! it’s just… so, so… perfect, in it’s own way. The guy’s a riot. So read the whole darn thing over at Noisey then, for Pete Sakes, which, as far as I can tell, is some kinda special musical section connected to the www.Vice.com thing, or whatnot.
Let’s all bring the power o’ The Ledge to our Holidays meals this year! His demented little ditties are the nutmeg-infused reefer your brandy eggnog has been waiting for!
If you walk into the film industry and start interviewing people like Eli Roth, you will almost certainly hear incredible and bizarre things. Roth would tell you that he aspires to “fu$k up an entire generation” through movies.
Roth and his brethren have been in the business for years, so they know the drill. Roth probably knows the story of Samson and Delilah. He probably knows that Samson’s lust darkened his mind and eventually sent him to his death.
Roth almost certainly knows that the best way to destroy the morals of his audience is to prey on their lust and appetite. That is why Roth’s brethren have spent years fighting against obscenity laws and pornography in the United States.
As Jewish scholar Nathan Abrams himself puts it,
“Older generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work, but updated it to match the new post-1990 sensibility by defining it in increasingly sexualized (and pornographic) terms.”
Abrams declared elsewhere that “Jewish involvement in porn” is actually “is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion.”
Another Jewish scholar by the name of Josh Lambert tells us that people like Larry David and Sarah Silverman “are challenging America’s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.”
Yet David and Silverman are hardly the only people who are “glorifying obscenity” in Hollywood. David Cronenberg obviously beat them to the punch. Cronenberg got to the heart of the matter years ago by laying out his ideological weltanschauung in an interview with the Rolling Stone this way:
“Nothing is true. It’s not an absolute. It’s only a human construct, very definitely able to change and susceptible to change and rethinking. And you can then be free. Free to be unethical, immoral, out of society and agent for some other power, never belonging.
“Ultimately, if you are an existentialist and you don’t believe in God and the judgment after death, then you can do anything you want: You can kill, you can do whatever society considers the most taboo thing.”
Cronenberg’s moral calculus here is logically and philosophically incoherent. If “nothing is true,” then Cronenberg’s statement that “nothing is true” is not true. In order for the statement to make sense, Cronenberg has to assume that it is true! And if it is true, then the “nothing is true” is categorically false, which means that his entire argument collapses.
In short, Cronenberg is positing truth claims while denying truth exists! He is trapped in his own ideological matrix.
Living the incoherency of his system aside, Cronenberg is basically saying that you can only be free if you can come to the conclusion that nothing is true and that morality is, as philosopher Michael Ruse believes, “flimflam.” But because he is morally and intellectually blind, Cronenberg could not realize that his axiom is self-defeating.
Morality, as we all know, is inexorably linked to practical reason. It is also essential to esthetic truth and intellectual pursuit and honesty. As E. Michael Jones rightly puts it,
“The intellectual life is a function of the moral life of the thinker. In order to apprehend truth, which is the goal of the intellectual life, one must live a moral life. One can produce intellectual product, but to the extent that one prescinds from living the moral life, that product will be more a function of internal desire—wish fulfilment, if you will—than external reality. This is true of any intellectual field and any deeply held desire.”
Truth, as Plato puts it, is like seeing things the way they really are. And practical reason (another word for morality) is one of the main tools for discovering metaphysical truth.
Yet since Cronenberg dismisses practical reason in his ideological calculus, there was no way for him to make a logical point without falling into his own trap. In the process, he has become a monster, as one scholar has argued.
The Rolling Stone interviewer asked, “Does the artist have any moral or social responsibility?” Cronenberg:
“No…Your responsibility is to be irresponsible. As soon as you talk about social or political responsibility, you’ve amputated the best limbs you’ve got as an artist. You are plugging into a very restrictive system that is going to push and pull and mold you and is going to make your art totally useless and ineffective.”
Cronenberg’s philosophy, scholar William Beard tells us, is “the disappearance of ethics.” It is actually “a world of unimpeded desires without consequences, where ‘everything is permitted.’ Metaphorically, this is the world of violent video games, of indulgent Hollywood movies, and also of the transgressive, boundary-piercing cinema of David Cronenberg.”
No responsibility, no morality, no ethical values, and no limit, nothing but ultimate meaninglessness and existential hell in movies. Existence itself, as indicated in Cronenberg’s movie eXistenZ, means corruption, moral degradation, and ultimately pathetic death. The axiom of eXistenZ is that “nothing is true; everything is permitted.”
“Every time I kill someone in my movie,” says Cronenberg, “I’m rehearsing my own death…It’s an existential truth, it’s very raw and real.” Didn’t Cronenberg state that nothing was true? Why is he now smuggling in truth in his philosophical trap?
Cronenberg, who has a “historic affinity with existentialism,” is also playing with the lives of his viewers. He admits that eXistenZ is filled with “existential propaganda.” Scholar William Beard comments:
“The disappearance of stable theoretical foundations for human society and human values, the stark realization of the insignificant position of humanity in a material cosmos, the undermining of all kinds of knowledge about the world and ourselves, leaves the existential human subject without clear guideline for living, with no certainty of anything but his or her own death…Culture, science, the whole edifice of modern European civilization are ineffectual in addressing the individual’s desperate plight.”
Once the existentialist denies metaphysical truth, he has to start creating his own “truth”: “From this we must create ourselves as meaningful beings, and create the world as meaningful for ourselves. From this we must build up the new foundations of our own lives, adding other people, culture, history, and politics tentatively and fragmentedly as necessary…”
Existentialists like Cronenberg, says Beard, “cut individuals off from the fundamental questions of personal existence, and leave them alienated in a world crowded with facts but void of meaning.” The philosophy of existentialism teaches Cronenberg that people “are all doomed to die and be swallowed up by Nothingness, but along the way we may carve out a niche or ledge on the cliff…”
Therefore “science” and technology are meaningful if they can advance sexual desires and appetite. It was no coincidence that Cronenberg has seized technology in the information age to advance his appetite to a wider audience. He bragged that “technology is with us,” meaning that he can use that kind of medium to get his essentially Freudian and therefore Talmudic ideas to unsuspecting viewers.
Put simply, Cronenberg is indirectly reinventing what Nietzsche would have called the transvaluation of all values, which again states that morality is an illusion and that any culture which becomes docile to the moral order must be overthrown.
But in order to do that, Cronenberg has to go back to his revolutionary roots, which is neither Western nor rational but essentially Talmudic or Freudian: “I think we start off with what Freud called a polymorphous perverseness.”
One can easily argue that this “polymorphous perverseness” is at the core of virtually every Cronenberg film. In fact, Cronenberg admitted that characters in movies like Crash, M. Butterfly, Naked Lunch, Dead Ringers, and Sterero, were “reinventing sexuality,” which is another way of saying that Cronenberg’s characters were subverting the sexual order. Cronenberg’s existential philosophy, Beard says, is
“sexual or predatory, a drive, an appetite, that invokes Freud far more readily than the Sartre who heatedly rejected a Freudian view of life in which individuals were unfree prisoners of their psychic histories and hardwired desires.”
Cronenberg’s characters in eXistenZ, Beard continues,
“seem to reproduce that quasi-Freudian sense that their individual freedom—a sacrosanct item of the existentialist creed—is compromised by appetites that are so powerful they are strongly impelled to do something ethically ugly. This happens to Pikul in the Chinese restaurant. He finds he wants to kill the waiter, and is told by Geller that the impulse is part of his game character’s make-up and that he won’t be able to do anything to stop it.”
The interesting thing is that Cronenberg has successfully passed his essentially diabolical ideas to his son Brandon, who is now following the family tradition. That fact became quite obvious when David edited Brandon’s first feature film Antiviral, which the Rolling Stone itself has described as “sickening,” and which has the same “disturbing obsession with bodies and technology that animates his father’s films, from The Fly and Dead Ringers to Videodrome and Existenz.” The Rolling Stone reported,
“The son was infected with his father’s own sense of cerebral horror, and he is not rebelling against it. ‘I wrestled with it at first,’ he says, ‘but you get affected by how you grow up….’”
Cronenberg, whether he likes it or not, should be called a Satanist precisely because he is anti-Logos. But there is a bigger picture here. Cronenberg’s ideology has been transported to places like Japan as well. For example, one of Japan’s most controversial filmmakers is none other than Takashi Miike.
Miike says that he is a fervent admirer of directors like David Lynch (Lost Highway), Paul Verhoeven (Basic Instinct), and of course David Cronenberg. These people are what one should call cultural subverters. Verhoeven meant it when he said:
“As a director, my goal is to be completely open. Just look at how I portray sex in my films. They’re considered shocking and obscene because I like to carefully examine human sexuality. It has to be realistic.”
Verhoeven also declares that he has been “fascinated by the occult: black magic, UFOs, and kinetic energy. I also experimented with hypnotism, trying to get my friends to remember former lives.” It was a natural step for Verhoeven to move from an interest in the occult to bringing his viewpoint to life in films. Turning from the unknown and unknowable, Verhoeven replaced his own ideology with reality:
“My films became my anchor to reality, and I began to make extremely realistic movies. I felt compelled to show things as explicitly as possible—a tendency which many film critics have dismissed as banal.”
Verhoeven applied this tendency most often to the area of sexuality, explicitly portraying sex in movies like Showgirls, Basic Instinct, Turkish Delight, and The Fourth Man. Yet even in RoboCop, which in comparison has little sexuality, Verhoeven’s worldview is clear—this time he is substituting Logos incarnate with his own imagination:
“It’s pure resurrection. For me, RoboCop is a Cytale. First, Murphy is gunned down in the most horrific way: that is the Crucifixion. And it has to be so violent, because the audience has to remember him.
“Before that, he has not done anything in the film. He comes to the police station to put on his uniform, then he goes after the villains with his partner, and bang! he is dead. That shooting is the only thing about him—I did that deliberately.
“Next, the film makes a steep descent into the finite, after which he experiences his Resurrection, in a modern day…RoboCop is a Jesus figure—an American Jesus…Americans want to be humane, but if they think it takes too long, Christian morality is pushed aside for the moment and they go for their weapons—just like Robocop.”
Biographer Rob van Scheers writes,
“Both in his films and in his personal life, Paul Verhoeven has always practiced a free sexual morality of which he makes no secret…Verhoeven would add in the gay magazine The Advocate: ‘Sex is a form of play—doing what you did when you were four or five years old and were playing in the street with your friends. Once you are grown up, it is difficult to be playful, but one of the ways you can is with sex. It is a way of showing yourself: That’s how I’m made. This is what I like.”
In short, Verhoeven and Takashi Miike are on the same subversive boat. Both individuals want to overthrow the moral order. Eli Roth and Takashi Miike are also on the same boat, working to “fu$k an entire generation.” Of course, Roth himself admitted that he admires Miike’s work. In fact, Roth would have loved to make Ichi the Killer 2. Keep in mind that Ichi the Killer is one of Miike’s “most controversial films,” an “ultra-violent” film which portrays “sadomasochistic” scenes.
Miike admits in an interview with the BBC that he is a “feminist,” so it was inevitable that he would pull this ideology out of his film. “Miike has garnered international notoriety for depicting shocking scenes of extreme violence and sexual perversions…” Of course, this is exactly what Eli Roth and David Cronenberg have been doing for years.
What we are seeing here is that Hollywood stirred the subversive pot, and other nations such as Japan and South Korea followed suit. Even the new South Korean movie, Train to Busan, “borrows heavily from World War Z in its depiction of the fast-moving undead masses while also boasting an emotional core the Brad Pitt-starring extravaganza often lacked.”
If no social progress is possible outside the moral order, then Satanists in Hollywood are contributing to the demise of social docility and cultural harmony around the world. The solution?
A return to practical reason and metaphysical Logos, the essence of true creativity and beauty. Movies such as The Lord of the Rings were written under those premises. As Israel Shamir rightly points out, Logos is “the main fountain of creativity.” Shamir also argues that true visual art or poetry simply cannot exist outside of Logos.
If Satanists in Hollywood rejects “the main fountain of creativity,” then they can only produce degradation, ugliness, meaninglessness, despair, and ultimate chaos and confusion. It was only a matter of time before the art world was used as a weapon against Logos:
“A photograph of a crucifix in a container of urine, entitled Piss Christ, was exhibited in the Whitney Museum, which is headed by a great friend of [former Israeli Prime Minister] Ariel Sharon, a member of Mega, Leonard Lauder.”
This is one reason why people like Carolee Scheemann use nothing but blatant sadistic/ sadomasochistic sexual imagery in their “art.”
 Josh Lambert, “‘Dirty Jews’ and the Christian Right,” Haaretz, February 3, 2014.
 David Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70.
 It is almost the same thing with relativism. I have been listening to an interview E. Michael Jones did with Alex Fontana during which Fontana declared that he doesn’t know if he agrees with “objective reality.” He then lays out his position by saying, “I guess I am a relativist.” I was completely stunned because during the entire interview Fontana was basically dissecting some ideas in the culture and implicitly arguing that they were wrong! Fontana could not see that there is no way to adjudicate two fundamentally opposite ideas if relativism is true. I was also shocked because relativism has been abandoned by serious thinkers years ago precisely because it is devoid of coherency and rigor. This is why Jones told him that relativism “is incoherent. It makes no sense ultimately.” I have discussed the incoherency of relativism in numerous articles. An example can be found here.
 Michael Ruse, “God is dead. Long live morality,” Guardian, March 15, 2010.
 E. Michael Jones, Degenerate Moderns: Modernity as Rationalized Sexual Misbehavior (South Bend: Fidelity Press, 2012), 15.
 Plato, The Republic (New York: Oxford University Press, 1993), 116.
 See for example William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006).
 Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70.
 William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006), 434.
On November 1, Chuck Norris and his wife Gena Norris announced a massive lawsuit against eleven different drug companies, including McKesson and Bracco, claiming they are responsible for nearly killing Gena.
“Unfortunately, litigation is the only course of action we can take to hold the drug companies accountable for threatening the lives of so many innocent people who undergo MRIs,” Gena said.
Gena and I have been in the news recently because of the gadolinium poisoning she received through her Magnetic Resonance Imaging, or MRI, “a diagnostic technique that uses magnetic fields and radio waves to produce a detailed image of the body’s soft tissue and bones.”
We’re not overlooking the good MRIs can do. We’re speaking out against the dangers of gadolinium use in MRIs.
Gadolinium-based contrast agents, or GBCAs, are injected in about a third of 60 million MRIs performed annually – 30 million in the U.S. alone (that’s one in 10 Americans), including children.
Gadolinium is a heavy metal chemical agent that is injected to enhance the images of a MRI. It’s not naturally found in the human body. Its proponents say it is always expelled from the body, primarily through the kidneys. But studies have shown it can be retained in the brain, bones, skin and others parts of the body.
According to the lawsuit, Gena was poisoned by gadolinium and sustained Gadolinium Deposition Disease following routine MRIs. Gena suffered long-term health implications requiring multiple hospitalizations and almost $2 million dollars in out-of-pocket medical expenses.
As Business wire reports, Gena Norris has experienced cognitive impairment, body pain/burning, kidney damage, loss of energy/mobility, and difficulty breathing. Now, almost five-years post-gadolinium poisoning, she continues to require regular stem cell therapies and other treatments to heal her central nervous system.
“These companies continue to say that there is no link between gadolinium and adverse events, even though the evidence is overwhelming that this heavy metal stays in the body for years, rather than hours,” said Gena.
To treat her condition, the Norris family has had to seek alternative care outside of mainstream medicine. The treatment they sought to remove the gadolinium from her body, which is not yet approved by the FDA to treat gadolinium poisoning, is chelation therapy.
Chelation therapy is a chemical process in which a synthetic solution-EDTA (ethylenediaminetetraacetic acid)-is injected into the bloodstream to remove heavy metals and/or minerals from the body. Chelation means “to grab” or “to bind.” When EDTA is injected into the veins, it “grabs” heavy metals and minerals such as lead, mercury, copper, iron, arsenic, aluminum, and calcium and removes them from the body. Except as a treatment for lead poisoning, chelation therapy is controversial and unapproved.
Gena and Chuck are represented by Brooks Cutter and Todd Walburg of Cutter Law in California who were present in September when the U.S. Food and Drug Administration (FDA) voted 13-1 (with one abstention) to add a warning about the risk of gadolinium retention after use of gadolinium-based contrast agents.
In October 2016, according to the firm, Cutter Law filed the first gadolinium deposition disease lawsuit against the maker of a gadolinium-based contrast agent, alleging patients were not properly warned about the risks associated with gadolinium retention. Since that time, they have filed several lawsuits for victims living across the country in both state and federal courts, Chuck and Gena included.
As CBS News reports, the Norris’ lawsuit acknowledges no official, publicly stated link between gadolinium and symptoms reported by people who believe the metal has affected their health. But that’s in part because blood and urine testing for gadolinium only became available recently and most doctors were not aware of any disease that was associated with gadolinium other than one that affects people with kidney problems, the lawsuit said.
The lawsuit accuses the manufacturers of knowing about the risks associated with gadolinium but doing nothing about them.
The avalanche of revelations about the perverted and predatory sexual underbelly of Hollywood and the entertainment industry is long overdue. It has always been an open secret of sorts, but the whole house is coming down right now as more people are suddenly feeling empowered to speak out, and the media is finally ready to listen and take seriously to the stories of victims.
But what if pedophilia and the sexual harassment of women in entertainment is only a symptom and not actually the disease?
Just below the surface, hidden in plain sight in Hollywood is the overwhelming influence of the occult and the esoteric schools of ancient black magic. It has always been present in this industry because those who seek power in our world have long recognized that television, film and music are the most efficient and important roadways into the public psyche and the collective conscience.
Many have warned us about this for years, composing volumes of books and videos, gathering evidence of this bizarre conspiracy.
“Hollywood is, as David Lynch titles it, an “inland empire” – a kind of covenantal city-state of its own, with its own religion, including all the trappings of neophytes, acolytes, servants, agents, star saints, hierophants and hierarchs and holy sites. It is a veritable polis of initiatory esoterica where the holy sites and rites of Hollywood are not the altars of mainstream religion, but another ancient religion, ultimately summed up in the epithet of the ancient mysteries. The ancient mysteries comprise the competing religious practices of the empires of old, but the one empire that seems to have achieved the most appropriate association with Hollywood is Babylon – the “gate of the gods”.” ~Jay Dyer
Clues appear in the form of symbols and the use of symbolic set and setting in order to introduce occult memes into the subconscious. Subliminal messages packed with sexual innuendo including veiled pornographic images and reproductive anatomy are vaguely concealed in films. Music videos are laden with satanic imagery and overtly demonic themes.
Here is a compilation of examples of this in many of Disney’s children’s films:
Here is a compilation of Iluminati and satanic symbols appearing in music videos. There are hundreds of more examples of this that are quite easy to find.
Illuminati symbolism is a recurring theme, often resurfacing as the chosen celebrity covering one eye. The symbol of the one eye is of course the same single eye that watches from atop the symbolic pyramid, a symbol on our money and scattered throughout the political world.
Hollywood has its own hidden language that is stunningly pervasive in entertainment media, with recurring themes applied over again in new contexts. There is so much to it that it cannot be ignored, but you don’t see it until you’ve been introduced to it. Once you see, though, you see it everywhere.
The themes are applied in so many productions that it utterly defies coincidence, which means there must be some greater unifying message or purpose to it all. Based on the type of symbols and when looked at in the historical context of esoteric religious movement, Egyptian theology, Babylonian mythology, Satan worship and so on, Hollywood and the movie industry is clearly working to serve a particular idealogical movement.
The worship of dark and satanic forces has historically been linked to human sacrifice, pedophilia, sexual perversion, ego worship, celebrity worship, fragmentation of the individual psyche into controllable parts, mind control and corruption of the soul. The use of the occult and its symbols is a methodology employed to weaken the power of the individual and to create psychological slaves. It is a serious form of mind control.
While there certainly is reason to applaud the growing tidal wave of truth about Hollywood, one can only hope that these revelations ultimately go all the way to the core of the depravity in Hollywood, and that we can finally liberate our culture from these dark influences.
Buck Rogers is the earth-bound incarnation of that familiar part of our timeless cosmic selves, the rebel within. He is a surfer of ideals and meditates often on the promise of happiness in a world battered by the angry seas of human thoughtlessness. He is a staff writer for WakingTimes.com.
Members of the Hollywood elite have been hammered in recent weeks over sexual abuse claims launched by both, males and females in the industry.
It all started when actress Rose McGowan claimed that she was sexually harassed by movie producer and political power broker Harvey Weinstein.
Now, it appears that the elite have had enough and may be sending a message to those who may have information that could expose their sexually abusive transgressions. According to reports, a suitcase belonging to Rose McGowan was found to have tiny traces of narcotics. After further inspection Washington Dulles International Airport officials reportedly determined that there were drugs in the bag, prompting police to issue an arrest warrant:
Police launched an investigation after they allegedly found traces of narcotics in personal belongings left behind on a United flight arriving at the Washington Dulles International Airport on Jan. 20, the AP reports.
A spokesman for the Metropolitan Washington Airports Authority Police Department, Rob Yingling, told Deadline investigators believe the personal belongings were McGowan’s.
“Our police have attempted to contact Ms. McGowan so that she can appear in a Loudoun County Virginia court to respond to the charge,” Yingling said.