Thursday, August 11, 2011

Analysis of the Occult Symbols Found on the Bank of America Murals

Prominently displayed in the lobby of the Bank of America’s Corporate Center are “creepy” frescoes, filled with occult symbols. Even more unsettling is the fact that those images seem to predict events of a radical world change in the not-so-distant future. Are those murals predicting the coming of an occult New World Order? We will look at the occult meaning of the symbols found on the Bank of America frescoes.

A reader of Infowars sent me pictures of some very odd murals displayed at the Bank of America Corporate Center in Charlotte, NC. Needless to say they immediately caught my attention, as I was flabbergasted by their symbolism and their message. I also couldn’t help relating them to the ominous murals of the Denver International Airport.

Painted by Benjamin Long, the paintings are said to revolve around the themes of “making/building, chaos/creativity, and planning/knowledge in a “daring blend of abstract and realism, set off with touches of gold“.

The three frescoes ruling over the lobby of the Bank of America Corporate Center.
Although we normally read from left to right, there are clues within the frescoes hinting the viewers to read the paintings from right to left. The “planning” stage (visually represented by the fresco on the right) is normally the first step of any process so it would make sense to start from there.  There is also alchemical symbolism hinting towards the chronology of the frescoes, so we will begin with the one on the right:

Right Fresco

The fresco on the right is dubbed Planning/Knowledge.  An esoteric read of its symbolism reveals exactly what is being planned and what knowledge it is referring to.

Masonic Boy on Masonic Floor

We see here a young blond boy standing on a standard Masonic checker-board pattern floor. His feet are placed at a 90 degrees angle, in accordance to Masonic initiation ritual:
Q. On your return to the Lodge, where were you placed, as the youngest Entered Apprentice?
A. In the northeast corner, my feet forming a right angle, my body erect, at the right hand of the Worshipful Master in the east, an upright man and Mason, and it was given me strictly in charge ever to walk and act as such.”
- Malcolm C. Duncan, Duncan’s Masonic Ritual and Monitor
Seemingly underneath the boy are people dressed in business suits, seemingly strategizing while pointing at the Masonic boy. Does the boy represent the “new generation”?
This blond boy is very reminiscent of the blond boy featured at the center of one of the murals of the Denver International Airport.

Blond boy hammering a sword into a plowshare. Note that the boy is wearing a traditional Bavarian costume … perhaps as in Bavarian Illuminati?

Burning Bush, Woman in Cube and Pyramid


Symbolism overload
Behind the boy is a tree on fire, which is a reference of the Burning Bush of the Old Testament. The Burning Bush is of great importance in Masonic ritual, especially for the 33rd degree, whose members are considered to be “near the Burning Bush”.
“In the third Exodus it is record that, while Moses was keeping the flock of Jethro on Mount Horeb, “the angle of Lord appeared unto him in a flame of fire out of the midst of a bush”, and there communicated to him for the first time his Ineffable Name. This occurrence is commemorated in the Burning Bush of the Royal Arch Degree. In all systems of antiquity, fire is adopted as a symbol of Deity; and the Burning Bush, or the bush filled with fire which did not consume, whence came forth the Tetragrammaton, the symbol of Divine Light and Truth, is considered in the advanced degrees of Freemasonry, like the Orient in the lower, as the great source of true Masonic light; wherefore Supreme Councils of the Thirty-Third Degree date their balustres or official documents, “near the B.B.” or Burning Bush, to intimate that they are, in their own rite, the exclusive source of all Masonic instruction”.
- Albert G. Mackey, Encyclopedia of Freemasonry, Part 1
In the background is an Egyptian pyramid, the ultimate symbol of the Mysteries in occult teachings.
A strange feature of the painting is the woman apparently trapped inside a transparent cube, hanging from threads coming from the sky. Does she represent the common man, stuck in the confines of the material world (occultly represented by the cube) and manipulated by unseen the forces from above?


Stairs and Black Sun

Jacob’s ladder and a black sun
On the left of the image are stairs, apparently leading to the heavens, a classic symbol representing the path to illumination/Illuminati through the mysteries of Masonry.

A Masonic engraving depicting stairs leading from the Masonic floor to the “outside”
In the sky is a black sun, another symbol of an esoteric significance. Hermetic traditions teach the existence of two suns, an invisible and etheric one made of pure “philosophical gold” and the material one, the only one the profane can perceive, known as the Black Sun.
In alchemy, the black sun (Sol niger) is the name of the result of the first stage of the Opus Magnum. The alchemical Magnum Opus (or Great Work) starts with the “blackening” – the calcination of crude metals – and ends with their transmutation into pure gold.
Today, the symbol of the Black Sun is mostly associated with esoteric Nazism and cults such as the Temple of Set. It is also found in odd places such as:

Bracken House, London. The Black Sun beares the face of Winston Churchill.
…and, once again, the Denver International Airport.

Floor design in the DIA depicting a black sun moving in front of the golden sun
The right fresco therefore seems to portray the first step of a “Great Work” that needs to be accomplished, as symbolically represented by the black sun. Men dressed in suits (one of them oddly looks like Adam Weishaupt),  seem to be preparing a new generation of Masonic youth. Meanwhile, the “profane” seem to be idling in an translucent cube, controlled by invisible puppeteers.

Middle Fresco

The middle fresco, Chaos/Creativity, depicts a turbulent transitional period. Many details within the painting describe this profound turmoil, which seem to be affecting all part of society and civilization. We find military and religious figures, people protesting and much more.

Barb wires, nets and soldiers on the streets tell the viewers that this period of turmoil is also one of oppression. The nun does not seem very pleased either.
At the left of the painting is a person wearing a biohazard suit, hinting to some kind of chemical warfare.

Person in gas suit
For this reason, and many more, I find this painting very similar to one of the Denver Airport’s murals … the most infamous one.

This mural of the DIA portrays a militaristic figure wearing a gas mask and oppressing an endless line of sad people. Chemical warfare, military repression, dead babies … what is there not to like about this image?
If we look at the top of the fresco, we see translucent beings spinning with fire, perhaps implying that the turmoil is also happening on a metaphysical, cosmic or astral level.

Spinning naked bodies in a vortex of fire
This round fiery shape can also be likened to a sun. Its pale golden color and the transparency of its figures can be associated with the intermediate step of the great alchemical work named “Whitening”. Jung compared this step with daybreak, the preparation for the next and final stage, which is the sunrise, characterized by the color red. Which is, of course, the most prominent color of the left fresco.

The Occult Symbolism of the Los Angeles Central Library




Throughout the history of Western Civilization, libraries have been the repositories of nations’ accumulated knowledge and the epicenters of their culture. Central libraries, more than being big buildings containing books, are important landmarks designed with impressive architecture and filled with symbolic art. The Los Angeles Central Library is certainly no exception. An in-depth look at the art found at the Library is quite a revealing one: It describes the occult philosophy of those in power. We will look at the Central Library’s history and the hidden meaning of its architecture.

Built in 1926, the Central Library is an important landmark of downtown Los Angeles. It is the central piece of one of the largest publicly funded library systems in the world, the Los Angeles Public Library (LAPL). Most touristic pamphlets describe the building’s design to be inspired by ancient Egyptian and Mediterranean Revival architecture. As we will see, this choice of design is not simply an aesthetic one, it rather recalls the teachings and the symbolism of the ancient mystery schools of Antiquity.  In fact, after decoding the library’s many esoteric features, we can safely say that the building is mainly inspired by Freemasonry, which is, in turn, heavily steeped in ancient Egyptian and Mediterranean mysteries.

The Egyptian Room of a Masonic Lodge attest to the great importance of Egyptian mysteries in Masonic lore.
The Library’s tiled pyramid, two sphinxes, celestial mosaics and other details turn this public space into a true occult temple. Furthermore, the library is definitely built with an elitist state of mind. The true meaning of the art on display seems to be solely intended for initiates of secret societies and not the masses.  Before we examine the building’s most important features, let’s look at the background of its builders.

Elite Architect: Bertram Goodhue


Bertram Grosvenor Goodhue, architect of numerous buildings of power.
The LA Central Library was designed by Bertram Grosvenor Goodhue, a prominent architect who was recognized and hired by America’s most powerful people. His works include governmental and military buildings, churches, libraries and the private houses of politicians.
One of the most recognized elite buildings designed by Goodhue is the headquarters of the Wolf’s Head Society – a secret society of Yale University. Along with the notorious Skull & Bones and Scroll & Key – the two other secret societies found at Yale - Wolf’s Head functions are quite similar to Freemasonry: It is a discreet yet major force influencing one of America’s most elite universities. It has held within its ranks members who went on to become prominent politicians, diplomats, lawyers and athletes.

The insignia of Yale’s Wolf Head Society.
Perhaps Goodhue’s most notable project is the Rockefeller Memorial Chapel of the University of Chicago. Commissioned by America’s most powerful tycoon, John D. Rockefeller, the ecumenical Chapel is used for various religious celebrations. Rockefeller stated that the Chapel was meant to be the campus’ “central and dominant feature”.

The Rockefeller Memorial Chapel.
The Chapel was designed in collaboration with Lee Lawrie, America’s foremost architectural sculptor. The duo worked on several other important projects such as Nebraska’s State Capitol and the Los Angeles Central Library, the subject of this article.

Sculpture of Bertram Goodhue holding the Rockefeller Chapel by the Rockefeller’s favourite sculptor, Lee Lawrie.


Elite Sculptor: Lee Lawrie


Lee Lawrie
Born in Germany in 1877, Lawrie came to the United States at the age of 5. After learning the craft from some of America’s leading artists,  Lawrie collaborated with Goodhue on several projects and became America’s leading sculptor. His unique style and his knowledge of occult symbolism, ancient mysteries and Masonic principles apparently made him the elite’s artist. Some of his high-profile commissions include: the allegorical relief panels of the United States Senate, the Louisiana State Capitol, the statue of George Washington at the National Cathedral in Washington D.C and the Harkness Tower of Yale University.

Lawrie’s statue of George Washington at the National Cathedral. Notice the Masonic Square and Compass behind him.
Lawrie’s most recognizable works are however displayed at the Rockefeller Center.

Lawrie’s Wisdom, above the main entrance of 5, Rockefeller Center, NY. The sculpture, depicts a gnostic demi-urge holding a Masonic compass.
As described in a previous Vigilant Citizen article entitled Sinister Sites: Rockefeller Center, the complex built by John D. Rockefeller is filled with symbolic art describing the elite’s Luciferian philosophy based on the acquisition of divine knowledge (more on this later). Another important piece conceived by Lawrie at the Rockefeller Center is the statue of Atlas.

Lee Lawrie’s Atlas at Rockefeller Center.
Atlas is used by the ruling class as a metaphor “for the people who produce the most in society”, and therefore “holding up the world” in a metaphorical sense. Not surprisingly, Atlas is associated with some of the most important works of fictions describing the point of view of the elite.

Fritz Lang’s Metropolis and Ayn Rand’s Atlas Shrugged: two classic works of fiction describing the vision of the world’s occult elite. Both work’s promotional material feature Atlas, a metaphor for the elite “upholding the world”.
Knowing that Goodhue and Lawrie produced symbolic architecture for America’s most prominent tycoons, politicians and institutions, would you be surprised if the Central Library contained the same?

The Central Library


Facade of the Los Angeles Central Library
The library was originally built in 1926 by Bertram Goodhue. According to the Library’s documentation, the architecture’s central theme revolved around “illumination through the light of learning”. Due to an arson fire in 1986, the building underwent extensive renovations and expansion – but the central theme was faithfully respected. The artwork’s spiritual and esoteric undertones make the entire complex a “temple of illumination”. It is replete with profound mystical symbolism, sacred geometry, proportions and allusions to important occult works. The Los Angeles Central Library and the Rockefeller Center are very similar in this regard – not surprising, as Lee Lawrie masterminded both complexes. As it is the case for the Rockefeller Center, the torch of Illumination, representing divine knowledge, is the most important symbol of the Library.

The Pyramid of Illumination


Pyramid of Illumination at the top of the Library
Throning at the top of the Library is probably the complex’ most distinctive feature: A tiled pyramid topped by a golden hand holding a torch. Other than being beautiful and decorative, the Library’s apex has a deep occult meaning, clearly inspired by Freemasonry.
First, in occult lore, the pyramid is considered to be the ultimate symbol of the Mysteries. It represents the transition from the material plane to the spiritual world. From the square-shaped base of the pyramid (representing the material world) rise, in mathematical perfection, four triangles (representing divinity). According to many occult researchers, the pyramids of Ancient Egypt were most likely used for the purposes of initiation, where candidates were led to the path of Illumination.
“The more the great Hierophants were at pains to conceal their absolute Science, the more they sought to add grandeur to and multiply its symbols. The huge pyramids, with their triangular sides of elevation and square bases, represented their Metaphysics, founded upon the knowledge of Nature.
- Albert Pike, Morals and Dogma
On each side of the pyramid is a sun symbol, the most visual ancient representation of deity.
“The adoration of the sun was one of the earliest and most natural forms of religious expression. Complex modern theologies are merely involvements and amplifications of this simple aboriginal belief. The primitive mind, recognizing the beneficent power of the solar orb, adored it as the proxy of the Supreme Deity.”
- Manly P. Hall, The Secret Teachings of All Ages
Although the sun (or sunburst) is the most common occult symbol to represent the divine, it is however not directly worshiped as a god. It is a visual representation of the divinity. For this reason, the Central Library is replete with references to the sun.
In all the histories of the Gods and Heroes lay couched and hidden astronomical details and the history of the operations of visible Nature; and those in their turn were also symbols of higher and profounder truths. None but rude uncultivated intellects could long consider the Sun and Stars and the Powers of Nature as Divine, or as fit objects of Human Worship; and they will consider them so while the world lasts ; and ever remain ignorant of the great Spiritual Truths of which these are the hieroglyphics and expressions.
– Albert Pike, Morals and Dogma

The Luciferian Torch

Above the pyramid is golden hand holding a torch. There is a reason why this symbol is sitting above all others in the building:  It is a perfect representation of the building’s philosophy, Luciferianism.

The original torch is on display inside the Library. There, we can see more of the torch’s detail, including the serpent of knowledge intertwining its base.
In Latin, the word “Lucifer” means “light bearer”.  In occult symbolism, light and fire esoterically represent divine knowledge and enlightenment. A hand holding a lit torch therefore represents man’s ascent to divinity through the teachings of the Mysteries. The Gnostic interpretation of the story of the Genesis considers the snake (Lucifer) as a positive figure. It has given humans the intellectual faculties to reason and to ascend to divinity by their own means.
“Luciferianism represents the ultimate inversion of good and evil. The formula for this inversion is reflected by the narrative paradigm of the Gnostic Hypostasis myth. As opposed to the original Biblical version, the Gnostic account represents a “revaluation of the Hebraic story of the first man’s temptation, the desire of mere men to ‘be as gods’ by partaking of the tree of the ‘knowledge of good and evil.”
- Carl A. Raschke,The Interruption of Eternity: Modern Gnosticism and the Origins of the New Religious Consciousness
In occult teachings, Lucifer is not an existing being and is not equal to Satan. While Satan is esoterically associated with the descent to materiality, Lucifer represents the ascent to divinity using the cognitive powers of man. Through the acquisition of the knowledge of the Mysteries, an initiate has the:
“opportunity to erase the curse of mortality by direct encounter with the patron deity, or in many instances by actually undergoing an apotheosis, a transfiguration of human into divine”.
- Ibid.
Masonic authors such as Albert Pike and Albert G. Mackey have referred to the “luciferian path” and the “energies of Lucifer” to describe the “search for light”. The term “luciferian” is therefore used in the scholarly sense of “bringing enlightenment”. Masonic scholars often invoke Prometheus, who stole fire from the gods to bring to man, to describe this concept.  For this reason, Prometheus is the central figure of the Rockefeller Center.

Prometheus, the Hellenic equivalent of Lucifer, bringing divine knowledge to humanity at Rockefeller Center.
The references to Lucifer in this library do not stop here.

The Western Facade – Phosphor and Hesper


Western facade of the Library
Conceived by Lee Lawrie, the Western facade of the Library is another nod to the Mystery schools.  Two human figures are depicted with the names “Phosphor” and “Hesper” underneath them. This apparently minor detail is perhaps the most significant.
Phosphor (or phosphorus) is the Latin word for the planet Venus in the morning,  also referred to as the “Morning Star” or the “bringer of light”. Those terms are synonymous with Lucifer.
“Believing Venus to be two bodies, the Ancient Greeks called the morning star Φωσφόρος, Phosphoros(Latinized Phosphorus), the “Bringer of Light” or Ἐωσφόρος, Eosphoros (Latinized Eosphorus), the “Bringer of Dawn”. The evening star they called Hesperos (Latinized Hesperus) (Ἓσπερος, the “star of the evening”). By Hellenistic times, the ancient Hesperos would be translated into Latin as Vesper and Phosphoros as Lucifer (“Light Bearer”), a poetic term later used to refer to the fallen angel cast out of heaven.
- William Sherwood Fox, The Mythology of All Races: Greek and Roman
Hesper (or Vesperus) refers to Venus in the evening, the evening star.
“The disciples of Pythagoras also highly revered the planet Venus, because it was the only planet bright enough to cast a shadow. As the morning star, Venus is visible before sunrise, and as the evening star it shines forth immediately after sunset. Because of these qualities, a number of names have been given to it by the ancients. Being visible in the sky at sunset, it was called vesper, and as it arose before the sun, it was called the false light, the star of the morning, or Lucifer, which means the light-bearer”.
- Manly P. Hall, The Secret Teachings of All Ages
So Phosphor and Hesper are two words signifying the same entity, Venus, a celestial body occultly associated with Lucifer, at different stages of evolution. The figure representing Phosphor holds the names of Eastern philosophers such as Moses, Zoroaster and Buddah, while Hesper holds the name of Western thinkers such as Socrates, Francis Bacon and Immanuel Kant. These historical figures have not been chosen at random: they all play important roles in the teachings of the Mystery Schools. In fact, Francis Bacon, René Descartes and Immanuel Kant are central figures of the revival of modern Rosicrucianism and Freemasonry in Western civilization.
At the top of the wall is the Latin saying “et quasi cursores vitai lampada tradunt”. This is a quote from the Roman poem De Rerum Natura (On the Nature of the Universe) written by Lucretius and can be translated to “And like runners they pass on the torch of life“. The “torch of life” can be equated to the occult Mysteries, the hidden knowledge passed down from generation to generation through secret societies. Between Phosphor and Hesper, we see a cavalier passing the “torch of life”, or occult knowledge, to the next generation and from the East to the West.
The western facade of the Library, which also serves as the main entrance, is therefore a very significant piece representing the enduring existence of mystery schools through luciferian philosophy. All of this, and we haven’t even stepped inside the building.


Illuminated Globe


9-Feet wide globe chandelier
Situated right under the pyramid on the top of the building, this globe chandelier is composed of cast bronze and, according to the Library’s documentation, weighs one ton. It was designed by Goodhue associates and modelled by Lee Lawrie.
The globe is surrounded by a ring containing the signs of the zodiac and is illuminated by 48 lights. The ring is attached to chains leading to the sunburst on the ceiling. As seen earlier, the sunburst is an ancient symbol representing divinity. This design is reminiscent of qabbalistic engravings representing the 72 names of God.

The seventy-two names of God from Kircher’s OEdipus Ægyptiacus. Like the library’s globe chandelier, this qabbalistic engraving bears the symbols of the planets and the signs of the zodiac.
Do the lights surrounding the globe represent the “circle of the illuminated”, the hidden rulers of the earth, who are connected to divinity through Gnosis? Do the 48 lights, mirroring the 48 sunrays, represent the hermetic axiom “As Above, so Below”?
“Despite statements to the contrary, Masonry is a religion seeking to unite God and man by elevating its initiates to that level of consciousness whereon they can behold with clarified vision the workings of the Great Architect of the Universe. From age to age the vision of a perfect civilization is preserved as the ideal for mankind. In the midst of that civilization shall stand a mighty university wherein both the sacred and secular sciences concerning the mysteries of life will be freely taught to all who will assume the philosophic life. Here creed and dogma will have no place; the superficial will be removed and only the essential be preserved. The world will be ruled by its most illumined minds, and each will occupy the position for which he is most admirably fitted. (…)
The perfect government of the earth must be patterned eventually after that divine government by which the universe is ordered.”
- Manly P. Hall, The Secret Teachings of All Ages

LADY GAGA"S "BORN DIS WAY"

Lady Gaga’s “Born This Way” – The Illuminati Manifesto



Lady Gaga’s single “Born This Way” introduces the viewers to the birth of a “new race” and to a new world, using intricate imagery and a precise narrative. It is a psychedelic trip filled with occult and archetypal symbols, telling the story of a cosmic birth and new ideals. However, behind its outward message of acceptance, a more sinister message lies embedded in the symbolism of the video. We will look at the underlying meaning of “Born This Way” and analyze the meaning of the occult symbolism in the video.

Lady Gaga is back, y’all.  And she’s got horns on her forehead. And she’s in space. And she’s making 90′s dance music. And my head just exploded. But seriously, Born this Way seems to provoke in people two opposite reactions, depending on their knowledge of occult symbolism. It is either “What the heck just happened here?” or “This is really blatant”.  The reason is simple. The video contains new strange elements that might confuse viewers but it also contains symbolism that is extremely ancient. Although the video is set in a futuristic, intergalactic world, it deals with the most primal concept of humanity: motherhood. It plays on human’s archetypal fascination and/or repulsion towards the act of giving birth.
Although the lyrics of Born This Way are about unconditional acceptance, with a special focus on homosexuality, the video’s scope goes way beyond the subject of sexual orientation. It narrates the birth of a new race within humanity. Laurieann Gibson, the creative director of the video describes this concept:
“At first, when I thought about birthing a new race and adding the prosthetics, I thought that maybe they should have a certain way they should walk or maybe they move a certain way, but then I realized it is actually a race within our race; it’s a mindset.”
- Source
Gaga is not giving birth to a human but to a “new race” within humanity. The symbolism of the video makes it clear that this birth is not natural, but artificially provoked. A twisted immaculate conception. As is the case for most Lady Gaga videos, the theme of mind control is important in the video. It is the process through which the metamorphosis will take place.  In Monarch programming terms, we are witnessing the birth of a new persona within the “core personality” of humanity. The birth is happening within the minds of people and is visually represented by creepy facial horns.
(If you have not read previous articles on this site, mind control programming is the process through which a handler causes within a subject the “birth” of a new persona that can be programmed at will, through trauma and abuse. It is an actual process used by the CIA – MK-Ultra – and symbolism pertaining to this practice is widely present  in popular culture. In the context of the video, the programming does not happen on a single person, but on a mass scale – a new race).
Furthermore, the esoteric imagery in the video describes a world change that is occurring as an alchemical process: The creation of magic through the unification of opposing forces portrayed through the use of archetypal symbols and messages. Yup, we’re still talking about a Lady Gaga video.

The Director

Although Born This Way is considered new and innovative, it is a perfect continuation of the themes exploited by previous Lady Gaga videos. Nick Knight, the director of the video, brings a different look and feel to Gaga’s message, but it remains very “elite friendly”. The fashion photographer is known for his visually dazzling photos and has worked with Alexander McQueen, Calvin Klein, Christian Dior, Kylie Minogue, Gwen Stefani and many others. His past work has also contained allusions to Monarch mind control.

One of director Nick Knight’s most famous images for Alexander McQueen. The scar on the mannequin’s forehead implies “playing with her head”. The blank stare and the missing eye (symbolic of Illuminati control) further accentuate the theme of mind control in this image.
Knight’s distinctive style in Born This Way was inspired by surrealist painters such as Salvador Dali and Francis Bacon. Let’s look at the video’s symbolism.

The Immaculate Conception

The video begins with the superposition of two evocative symbols:

A unicorn inside an inverted pink triangle.

Pink triangles pointing downwards were used in Nazi concentration camps to denote homosexual men. The same pink triangle pointing upwards has become a symbol of gay pride and gay rights. On an esoteric level, triangles pointing down are archetypal symbols  representing the sacred feminine (in opposition to the upwards pointing triangle representing the phallic masculine). The inverted triangle is emblematic of the womb, the vessel and the uterus. It is the passive principle awaiting the active principle.
Inside the triangle is a unicorn, an ancient mythological creature emblematic of purity, spiritual enlightenment and fierceness – the horn is often viewed as symbolic of the union of with God. In esoteric terms it refers to the third eye or the pineal gland.
In Christian symbolism, the Unicorn is a symbol of Christ. It is also often associated with the Virgin Mary.
“Symbolically, the unicorn is a representation of Jesus, the horn represents the unity of Jesus and God, its fierceness and defiance were said to be a reminder that nothing can control Jesus against his will, and the small size of the animal represented Jesus’ humility.”
- Heather Changeri, The Virgin and the Unicorn
The link between the unicorn and the concept of virginity was popularized by a medieval myth describing how to hunt the creature. In order to catch a unicorn, a virgin is put in the field; the animal then comes to her and is caught, because it lies down in her lap.

Virgin and Unicorn by Domenichino (1602), a tale which has probably been inspired by Christian symbolism (or the other way around). According to Honorius of Autun in his Speculum de Mysteriis Ecclesiae: “Christ is represented by this animal, and his invincible strength by its horn. He, who lay down in the womb of the Virgin, has been caught by the hunters; that is to say, he was found in human shape by those who loved him”.
This unicorn is inside a womb symbolically represented by the inverted triangle and therefore symbolically awaiting birth. The concept of purity associated with unicorn implies an “immaculate conception” as no sexual relation was needed to provoke this cosmic pregnancy (yes, I just said “cosmic pregnancy”). Gaga herself referred to this song in similar terms.
“I wrote ['Born This Way'] in 10 f—ing minutes. And it is a completely magical message song. And after I wrote it, the gates just opened, and the songs kept coming. It was like an immaculate conception.”
- Lady Gaga, Our Lady of Pop, Vogue Magazine
According to Carl Jung, whether we look at the religious or occult meaning of the unicorn, it ends up portraying the same concept: the union of seemingly opposite forces (i.e. purity and strength).
“The unicorn’s most vital function has been as a symbol, whether of power or virility, or purity, or the combination of opposites, of the male horn and the female body. Many modern interpreters regard this last role as the crucial one and relate it to the symbolism of the soul as the spark of divine light in the darkness of matter and evil, the body, and to the concept of the hermaphrodite as the perfect union of opposites.”
- Carl Jung, Man, Myth and Magic
That’s a lot of text to explain a single frame of the video. It is, however, an important frame because it sums up the entire concept of the video in a single image: the birth of a spiritual/galactic/metaphorical entity from an immaculate conception.
But what exactly is being born?In her narrative, Gaga says it is a new race, but the video, and the video’s director, suggests that it is a race born within the existing race, from people’s own minds. In the video, a symbolic image replaces the unicorn.

Mask at the back of Gaga’s head
Gaga has two faces, not unlike Janus, the god of gateways and beginnings. In mind-control terms, the mask implies the existence of a programmed alter-personality. Porcelain masks are used in the actual (and horrific) Monarch programming process on slaves and handlers (in the video, Gaga seems to embody both roles).
“Fire torture and melted wax is used to make the child victim believe their face has been burned. Then the programmer generously gives the traumatized alters a porcelain mask. The alter getting the Porcelain face may be given a “gem” hypnotically like Jade and that becomes their secret name. There are several different methods that are available to lay in the porcelain face programming. There has been a great deal of porcelain casts made of people’s faces and then masks made of them. In fact, when a handler dies, at least in one case the replacement handler wore a mask to look like the previous handler.”
- Fritz Springmeier, The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave
The mask inside the triangle implies the birth of a synthetic being, a human construct: a pre-established mindset for humanity. After this, Gaga begins her “Manifesto of Mother Monster”, describing the mindset.

Manifesto of Mother Monster and Birth

Gaga announces the birth of a new race in a speech with heavy occult undertones that contains references to ancient hermetic principles.
“This is the manifesto of Mother Monster: On G.O.A.T., a Government -Owned Alien Territory in space, a birth of magnificent and magical proportions took place.”
The magical birth took place on a “Government-Owned Alien Territory” – which is alluding to the fact that the birth is taking place under the supervision and approval of the powers that be: the elite, the Illuminati. It is also a great way to form the acronym G.O.A.T. and a great way to bring up Baphomet.

As Gaga says “GOAT”, a star formation shaped as a goat head is shown, an allusion to the Goat of Mendez and/or Baphomet. It is also shaped like a uterus. The movie Pan’s Labyrinth also draws a link between the faun’s horned head and the shape of the uterus – a symbolic gateway to another realm.
Gaga, playing the role of the Virgin about to give birth is symbolically shown inside the goat head, which emphasizes the occult and ritualistic nature of the birth taking place. Baphomet, represented by a goat’s head, is symbolic of magic created by the union of opposite forces, hence its androgyny (see the erect phallic symbol and the female breasts).

The goat-headed Baphomet, as depicted by Eliphas Levi. Baphomet’s androgyny and its “As Above, So Below” hand gesture illustrate the all-important concept of union of opposite forces and are all visually represented in Born This Way.
Baphomet is of great importance in Aleister Crowley’s Thelema – a modern occult philosophy that seems to be a source of inspiration for Gaga’s Manifesto. According to Crowley, Baphomet is a representative of the spiritual nature of the spermatozoa, while also being symbolic of the “magical child” produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon, combined and biologically manifested with the sperm and egg united in the zygote.
“He is ‘The Devil’ of the Book of Thoth, and His emblem is Baphomet the Androgyne who is the hieroglyph of arcane perfection … He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty.”
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Aleister Crowley, Magick Book 4
Concepts similar to those expressed by Crowley are incorporated to the Manifesto:
“But the birth was not finite. It was infinite. As the wombs numbered and the mitosis of the future began, it was perceived that this infamous moment in life is not temporal, it is eternal. And thus began the beginning of the new race, a race within the race of humanity, a race which bears  no prejudice, no judgment, but boundless freedom.”
Is the “mitosis of the future” equivalent to Crowley’s “new eon”? The emphasis on the term “liberty” and “freedom” might be a reference to Crowley’s “Do What Thou Wilt” ethos, a concept calling for the seeking of one’s “True Will” without regard for the boundaries of ethics, moral principles or the concept of good and evil. The embrace of both good and evil is further portrayed in the video.
As Gaga says these words, she is shown giving birth to … something. As this something gets pushed out, butterflies appear.

Butterflies emerging from Gaga’s womb.
Butterflies (especially Monarch butterflies) are symbolic of Monarch programming. Mind-control slaves who successfully create an alter-persona are compared to butterflies emerging from their cocoon. This implies that Gaga’s “new race” or “new philosophy” is not something that occurs naturally in society. It is rather something that will be forced on humanity using mind-control techniques.

Soulless, Gaga-clone newborns and a bunch of butterflies flying around them.
The creation of this “beautiful” race leads to the birth of an evil entity, which seemingly exists to protect its interests and force its will upon the world.
But on that same day, as the eternal mother hovered in the mulitverse, another more terrifying birth took place: the birth of evil. And as she herself split into two, rotating in agony between two ultimate forces, the pendulum of choice began its dance. It seems easy,  you imagine, to gravitate instantly and unwaveringly towards good. But she wondered, how can I protect something so perfect without evil?
As those words are being said, the camera slides upwards towards Gaga, forming a semi-hidden skull head made of human bodies, symbols of sacrifice representing the evil that resulted from birthing the “pure” creation. This concept is illustrated by the symbol of ying and yang and the Masonic checkered floor, where black and white coexist in an infinite pattern.

Semi-hidden human skull above a pyramidal structure made of red human bodies.
The evil force is represented by human skulls, which symbolically represent the elite’s death-culture, which celebrates sacrifices in order to generate “new life”. To illustrate the “political and governmental” aspect of this concept Gaga is shown firing a military rifle while church bells ring (announcing death of the masses).

Gaga firing a rifle, a celebration of depopulation and human sacrifices. She waves her blond hair as she is shooting, a continuation of the Agenda to make government oppression and violence  ”sexy”.
Evil is therefore depicted as a necessary force to balance the existence of good (or what is portrayed as good in the video, as mind control is never “good”).
Thought this song was about gay pride? Apparently not. Oh, and then the song starts.

Him or H-I-M

The song starts with an odd statement:
“It doesn’t matter if you love him, or capital H-I-M”
Who is “Him” and, more importantly who is capital H-I-M? At first glance, “Him” can be interpreted as a masculine lover, in accordance with the “gay pride” aspect of the song. In that case, who or what is “capital H-I-M”? Is it God? In that is she referring to the distance between homosexuality and traditional religions? HIM is also the name of a popular Finnish rock band whose acronym stands for “His Infernal Majesty”.  In this context, is Gaga saying “It doesn’t matter if you love him (God), or capital H-I-M (Satan)”? If that is the case, it would certainly fit with the dualistic, good versus evil, message of the video and the Thelemic theme of her manifesto.
Further in the song, another line states:
“A different lover is not a sin
Believe capital H-I-M (hey, hey, hey)”
In this spiritual context, is the “regular lover” God and the “different lover” His Infernal Majesty?
Dualism continues to be visually represented throughout the video with scenes celebrating life and love juxtaposed with scenes of celebrating death.

Lots of ewey-gooey love

Brain-dead zombies – the fate of who do not become part of the new “horned” race.
The rest of the video is a lot less symbol-intensive, as the focus shifts on choreography and female crotch-grabbing. No Gaga video (or any music business pawn’s video for that matter) is complete without the One-Eye Sign.

The Illuminati approves of this Mother Monster Manifesto.
The video ends with a symbolic image, one to be expected when understanding the dualistic theme portrayed throughout the video.

Zombie Gaga inside an upright pink triangle
The last frame of the video is the opposite of the first, as the pink triangle is pointing upwards. This alludes to the appropriation of this Nazi symbol by the gay rights movement and its reversal.
On an esoteric level, the upright triangle is the response to the inverted triangle and signals the end of the alchemical process. It represents the union of the opposites, in order to accomplish the Great Work: the occult transformation of men. When combined, the upright and the inverted triangle become a six-pointed star, a symbol known as the Philospher’s Stone or the Seal of Solomon.

The Hermetic Seal of Solomon composed with two interlaced triangles pointing in opposite directions.
“The interlacing triangles or deltas symbolize the union of the two principles or forces, the active and passive, male and female, pervading the universe … The two triangles, one white and the other black, interlacing, typify the mingling of apparent opposites in nature, darkness and light, error and truth, ignorance and wisdom, evil and good, throughout human life.”
- Albert G. Mackey, Encyclopedia of Freemasonry
If the video started with the unicorn inside the inverted triangle, symbolizing the impending birth of a pure spiritual being, the video ends with the opposite energy, death and corruption. Zombie-gaga, the evil by-product of the change imposed by G.O.A.T. In order for magic to happen, both of these triangles are necessary and they need to be united.
mehn some how we nid to realise dat the fins we do affect d people dat luv and carebout us
  example, i just gotevry one in ma family pritty mad nd didnt show remose at all
i didnt realise dat i hurt dem alldippli. and d worst part is dat ; i wasnt trained on hw to say am sorry
and trust mi irilly am sorry;          so sowi mum, aunt, grandma, and uncle