Paramore’s song is, at face value, about a girl escaping her problems and uigizaji childish only to realize that it makes things worse. Behind this first degree meaning, lies a sekunde layer of interpretation: the song describes, in chilling detail, the reality of a mind-control slave. The video manages to assemble all of the symbolism usually associated with Monarch Programming in about three minutes, leaving no doubt concerning this secondary meaning of the song.
Right from the start of the video, the subject matter of the song is made very clear. The setting is totally unreal and synthetically created. A little girl, apparently a child version of the singer Hayley, runs towards a strange world, bearing monarch butterfly, kipepeo wings on her back, symbolizing that she is a Monarch slave. She almost reluctantly enters a symbolic gateway, representing the start of her dissociative state. The door violently shuts down behind her, which hints the viewers to the fact that this wonderland is forcibly induced on the child. The lyrics of the first verse describe the reality of the slave.
Well she lives in the fairy tale
Somewhere too far for us to find
Forgotten the taste and smell
Of a world that she’s left behind
It’s all about the exposure the lens I told her
The angles are all wrong now
She’s ripping wings off of butterflies
The girl lives in a “fairy tale”, which is her dissociative mind state. It is “too far for us to find” due to the fact that this world can only be found in the confines of her consciousness. The slave has been removed from her family and the real world to live in a confined environment. She has “forgotten the taste and smell” of the the “real world” she has left behind. She lives in a prison for kids, a human panya laboratory and she is constantly manipulated kwa her handlers. All of her senses are subject to constant pressure and pain and her perception of reality is completely distorted: “The angles are all wrong now“. She is a Monarch slave and is thus “ripping wings off of butterflies“.
Keep your feet on the ground
When your head’s in the clouds
The dissociative state experienced kwa Monarch slaves is often described as a sensation of weightlessness. While her feet are on the ground, her consciousness is in an alternate reality au “in the clouds“.
The girl in the video walks around this strange world filled with fairy tale characters which are reminiscent of those found in Alice in Wonderland au the Wizard of Oz, the stories most commonly associated with mind control. The blurriness of the scenes and the presence of mushrooms in the background refer to the use of hallucinogenic drugs during Monarch Programming.
The girl enters a castle, representing her inner consciousness. Mirrors, reflections and the girl’s multiplication symbolize the girl’s fragmented/compartmentalized mind state.
The girl stands still while an independent, alternate personality, looking back at her through the mirror brushes her hair. Mirrors and castles are triggers that are often used in Monarch Programming.
“The premise of trauma-based mind control (a version of which was known as the MK Ultra program) is to compartmentalize the brain, and then use techniques to access the different sections of the brain while the subject is hypnotized. Entire systems can be embedded into a person’s mind, each with its own theme, access codes and trigger words. Some of the most common and maarufu symbolisms and themes in use are Alice in Wonderland, Peter Pan and The Wizard of Oz, mirrors, porcelain/harlequin masks, the phoenix/phoenix rising, rainbows, butterflies, owls, keys, carousels, puppets/marionettes and dolls,willow trees, tornadoes, spirals/helixes, castles, rings, hallways and doors, elevators and stairs.”
-Source
The sekunde verse of the song describes a disturbing reality of Monarch slaves.
So one siku he found her crying
Coiled up on the dirty ground
Her prince finally came to save her
And the rest wewe can figure out
But it was a trick
And the clock struck 12
This is the picture painted kwa this verse: the slave’s handler enters her “cell”, where she is coiled up and deeply traumatized. The floor is dirty. It has been documented that victims of mind control are forced to live rooms littered with feces (I can’t make this stuff up). Her “prince”, who is in fact her handler, comes in to “save her from her pain”. Handlers are often portrayed as the slave’s savior, who will guide them through traumatic events. The line “And the rest wewe can figure out” alludes to the worst: the “prince” came to rape her. It was a trick, he was not a prince, only a sadistic handler furthering the girl’s trauma with sexual abuse. During those repeated assaults, the slaves are forced to dissociate from reality. The lyrics of the song’s bridge aptly define this concept.
Well wewe built up a world of magic
Because your real life is tragic
Yeah wewe built up a world of magic
She has built, brick kwa brick, a ukuta in her consciousness that dissociates her from reality. She escapes into a world of magic due to the extreme trauma she has to live through on a daily basis.
The Awakening
Probably because the girl’s curiosity concerning her own mind has lead her too far, the world of wonders quickly becomes nightmarish. Creepy puppets make their way out of the mirrors. The characters of her fairy tale world suddenly become terrifying. An evil-looking character, dressed as a thief holding an ax, approaches her. Is she being reprimanded kwa her handlers for “not following the script” of her programming? The girl is understandably freaked out and runs away. The lyrics explain this difference between reality and fiction.
If it’s not real
wewe can’t hold it in your hand
wewe can’t feel it with your heart
And I won’t believe it
But if it’s true
wewe can see it with your eyes
au even in the dark
And that’s where I want to be, yeah
The girl runs out of the ngome and falls into the grave dug kwa … Paramore? That is not really cool of them. Hayley gets up, throws the girl’s doll into the grave and they start burying her. At face value, this can interpreted as the burial of the “young irresponsible girl” living in a fairy tale. On a sekunde level, this can be seen as the burial of the innocence of a child after experiencing traumatic events.
If wewe have keen eyes, wewe can notice a white rabbit inside the hole. Is it the white rabbit of Alice in Wonderland? As Morpheus says in the Matrix:
“You take the red pill – wewe stay in Wonderland and I onyesha wewe how deep the rabbit hole goes."
Whatever the meaning one attributes to the burial, the message of the video is not to sympathetic to the girl’s quest of self-knowledge and emancipation. Seems like they’re saying “This is what wewe get for trying to know your real self”.
In Conclusion
After viewing the video a couple of times, I asked myself if the song was actually a denunciation of mind-control practices … maybe it was trying to inform and warn people on the subject. So I visited some Paramore-related sites and foramu to see if the song had sparked discussions concerning its deeper meaning. I quickly came back to the reality of things: Young people listen to this muziki and they have absolutely NO IDEA what’s going on. About 97% of educated adults are totally unaware of the existence of mind control (let alone its symbolism), so to expect high schoolers know about this is totally absurd. Here are some actual maoni from mashabiki about this song: “I luv the Badabada part!“, “Hayley looks great in blonde!“or “I don’t like the burying part!“.
So with that in mind I keep asking myself: Why do we use symbolism and triggers associated with mind control in video aimed at the young people? They are totally oblivious to the reality of Monarch programming, so why do we expose them to it? After realizing that the group has adopted some of the Illuminati symbolism discussed in awali articles, the answer became very clear: They are part of the System, with a capital “S”. This System hypnotically conditions people to accept mind control as part of their daily lives and the trend is becoming increasingly apparent. I can already hear the naysayers saying “nay” to everything and finding ways to rationalize everything that has been discussed here. Maybe they should ponder on those words:
“Even as he dances to the tune of the elite managers of human behavior, the modern man scoffs with a great derision at the idea of the existence and operation of a technology of mass mind control emanating from media and government. Modern man is much too smart to believe anything as superstitious as that!
Modern man is the ideal hypnotic subject: puffed up on the idea that he is the crown of creation, he vehemently denies the power of the hypnotist’s control over him as his head bobs up and down on a string.”
-Michael A. Hoffman II, Secret Societies and Psychological Warfare
**Credit goes to link** I did NOT write any of this, and I don't claim to.
Right from the start of the video, the subject matter of the song is made very clear. The setting is totally unreal and synthetically created. A little girl, apparently a child version of the singer Hayley, runs towards a strange world, bearing monarch butterfly, kipepeo wings on her back, symbolizing that she is a Monarch slave. She almost reluctantly enters a symbolic gateway, representing the start of her dissociative state. The door violently shuts down behind her, which hints the viewers to the fact that this wonderland is forcibly induced on the child. The lyrics of the first verse describe the reality of the slave.
Well she lives in the fairy tale
Somewhere too far for us to find
Forgotten the taste and smell
Of a world that she’s left behind
It’s all about the exposure the lens I told her
The angles are all wrong now
She’s ripping wings off of butterflies
The girl lives in a “fairy tale”, which is her dissociative mind state. It is “too far for us to find” due to the fact that this world can only be found in the confines of her consciousness. The slave has been removed from her family and the real world to live in a confined environment. She has “forgotten the taste and smell” of the the “real world” she has left behind. She lives in a prison for kids, a human panya laboratory and she is constantly manipulated kwa her handlers. All of her senses are subject to constant pressure and pain and her perception of reality is completely distorted: “The angles are all wrong now“. She is a Monarch slave and is thus “ripping wings off of butterflies“.
Keep your feet on the ground
When your head’s in the clouds
The dissociative state experienced kwa Monarch slaves is often described as a sensation of weightlessness. While her feet are on the ground, her consciousness is in an alternate reality au “in the clouds“.
The girl in the video walks around this strange world filled with fairy tale characters which are reminiscent of those found in Alice in Wonderland au the Wizard of Oz, the stories most commonly associated with mind control. The blurriness of the scenes and the presence of mushrooms in the background refer to the use of hallucinogenic drugs during Monarch Programming.
The girl enters a castle, representing her inner consciousness. Mirrors, reflections and the girl’s multiplication symbolize the girl’s fragmented/compartmentalized mind state.
The girl stands still while an independent, alternate personality, looking back at her through the mirror brushes her hair. Mirrors and castles are triggers that are often used in Monarch Programming.
“The premise of trauma-based mind control (a version of which was known as the MK Ultra program) is to compartmentalize the brain, and then use techniques to access the different sections of the brain while the subject is hypnotized. Entire systems can be embedded into a person’s mind, each with its own theme, access codes and trigger words. Some of the most common and maarufu symbolisms and themes in use are Alice in Wonderland, Peter Pan and The Wizard of Oz, mirrors, porcelain/harlequin masks, the phoenix/phoenix rising, rainbows, butterflies, owls, keys, carousels, puppets/marionettes and dolls,willow trees, tornadoes, spirals/helixes, castles, rings, hallways and doors, elevators and stairs.”
-Source
The sekunde verse of the song describes a disturbing reality of Monarch slaves.
So one siku he found her crying
Coiled up on the dirty ground
Her prince finally came to save her
And the rest wewe can figure out
But it was a trick
And the clock struck 12
This is the picture painted kwa this verse: the slave’s handler enters her “cell”, where she is coiled up and deeply traumatized. The floor is dirty. It has been documented that victims of mind control are forced to live rooms littered with feces (I can’t make this stuff up). Her “prince”, who is in fact her handler, comes in to “save her from her pain”. Handlers are often portrayed as the slave’s savior, who will guide them through traumatic events. The line “And the rest wewe can figure out” alludes to the worst: the “prince” came to rape her. It was a trick, he was not a prince, only a sadistic handler furthering the girl’s trauma with sexual abuse. During those repeated assaults, the slaves are forced to dissociate from reality. The lyrics of the song’s bridge aptly define this concept.
Well wewe built up a world of magic
Because your real life is tragic
Yeah wewe built up a world of magic
She has built, brick kwa brick, a ukuta in her consciousness that dissociates her from reality. She escapes into a world of magic due to the extreme trauma she has to live through on a daily basis.
The Awakening
Probably because the girl’s curiosity concerning her own mind has lead her too far, the world of wonders quickly becomes nightmarish. Creepy puppets make their way out of the mirrors. The characters of her fairy tale world suddenly become terrifying. An evil-looking character, dressed as a thief holding an ax, approaches her. Is she being reprimanded kwa her handlers for “not following the script” of her programming? The girl is understandably freaked out and runs away. The lyrics explain this difference between reality and fiction.
If it’s not real
wewe can’t hold it in your hand
wewe can’t feel it with your heart
And I won’t believe it
But if it’s true
wewe can see it with your eyes
au even in the dark
And that’s where I want to be, yeah
The girl runs out of the ngome and falls into the grave dug kwa … Paramore? That is not really cool of them. Hayley gets up, throws the girl’s doll into the grave and they start burying her. At face value, this can interpreted as the burial of the “young irresponsible girl” living in a fairy tale. On a sekunde level, this can be seen as the burial of the innocence of a child after experiencing traumatic events.
If wewe have keen eyes, wewe can notice a white rabbit inside the hole. Is it the white rabbit of Alice in Wonderland? As Morpheus says in the Matrix:
“You take the red pill – wewe stay in Wonderland and I onyesha wewe how deep the rabbit hole goes."
Whatever the meaning one attributes to the burial, the message of the video is not to sympathetic to the girl’s quest of self-knowledge and emancipation. Seems like they’re saying “This is what wewe get for trying to know your real self”.
In Conclusion
After viewing the video a couple of times, I asked myself if the song was actually a denunciation of mind-control practices … maybe it was trying to inform and warn people on the subject. So I visited some Paramore-related sites and foramu to see if the song had sparked discussions concerning its deeper meaning. I quickly came back to the reality of things: Young people listen to this muziki and they have absolutely NO IDEA what’s going on. About 97% of educated adults are totally unaware of the existence of mind control (let alone its symbolism), so to expect high schoolers know about this is totally absurd. Here are some actual maoni from mashabiki about this song: “I luv the Badabada part!“, “Hayley looks great in blonde!“or “I don’t like the burying part!“.
So with that in mind I keep asking myself: Why do we use symbolism and triggers associated with mind control in video aimed at the young people? They are totally oblivious to the reality of Monarch programming, so why do we expose them to it? After realizing that the group has adopted some of the Illuminati symbolism discussed in awali articles, the answer became very clear: They are part of the System, with a capital “S”. This System hypnotically conditions people to accept mind control as part of their daily lives and the trend is becoming increasingly apparent. I can already hear the naysayers saying “nay” to everything and finding ways to rationalize everything that has been discussed here. Maybe they should ponder on those words:
“Even as he dances to the tune of the elite managers of human behavior, the modern man scoffs with a great derision at the idea of the existence and operation of a technology of mass mind control emanating from media and government. Modern man is much too smart to believe anything as superstitious as that!
Modern man is the ideal hypnotic subject: puffed up on the idea that he is the crown of creation, he vehemently denies the power of the hypnotist’s control over him as his head bobs up and down on a string.”
-Michael A. Hoffman II, Secret Societies and Psychological Warfare
**Credit goes to link** I did NOT write any of this, and I don't claim to.
