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By: Jay Dyer

If you haven’t heard, Katy Perry told Rolling Stone she wants in!  The hallowed halls of the Illuminati elite are wide open for the rising stars, just fill out a form and sign on the dotted line…with blood! 
For most, the development of the arts is an organic, random process that just happens to occur, with the latest weirdo upping the ante and making a hefty profit for his “genius” work, usually involving some form of actual litter, feces, urine or corpses.  What the unknowing public and its masses of “artsy” trendy wanna-bes who inhabit metropolises and immerse themselves in this sordid arena are unable to fathom or grasp, is that the movement of art itself in the 20th and 21st centuries is engineered to take the track it has.  While the internet has exploded over the last few years with sites that maximize hits based on finding the “Illuminati” in every image of an eye, stone, dove or butt, most of these sites are not worth your time for serious analysis, as the mythology they promote about the “Illuminati” is inaccurate and ahistorical.  Ironically, as a form of revelation of the method, the meme of Illuminati symbolism has become a self-replicating style trend, where the iconography of pop culture has adopted pseudo-Illuminati symbology.
The engineering of art was a decision made by the Rockefeller Foundation workers, the Guggenheim family, the Frankfurt School working with British Fabians like Bertrand Russell, and the intelligence agencies like the CIA, which the Rockefellers were instrumental in establishing.  Concomitant with the rise of garbage “art” was the rise of feminism and its Rockefeller funding, as well, so they can be seen as connected movements, that culminate in the phony drug and sex “revolution” of the 1960s.  I have detailed this elsewhere, focusing on the Marxist elements behind the above movements, but it is crucial to see that the Marxists were merely one level of this social engineering, as the funding for these Marxists and Frankfurt School degenerates came from international capitalists and their close cousins, the Fabian Socialists.  Bertrand Russell and the Critical Theorists of Frankfurt openly stated how all of society would be reengineered, and a crucial aspect of that change involved the complete control of the arts.  In fact, the arts are one of the most powerful, important arms of the machine, as the arts have a much deeper, more powerful impact on the mass consciousness than any Marxist or socialist books ever could.

MOMA and its whole ethos are nothing but intentional subversion, and the clearest evidence of this isn’t even the numerous sources and documents, but one simple indicator – the lack of talent.  In the good olden days, artists could not make a living unless they actually learned their skill from a master.  Nowadays, actual skill is a joke, while the most successful “artists” are those that are the best at creating a character persona for themselves that concocts absurd stories about what deep meanings their piles of shit have.  I know from direct experience about this, because my ex girlfriend’s sister attended one of the most prestigious schools in the nation, obtaining her master’s in “fine art.”  Her “art” consisted of huge vaginas and wombs that you could walk into, where the inside was covered in hundreds of nails.  The meaning of all this colossal waste of time and effort? I’ll give you one guess. You got it – female oppression!   I recall meeting her thesis advisor too, one night at a dinner at her place.  As is usually my fashion, I pounced onto subjects considered socially taboo by this ridiculous crowd – meaning in art, objectivity in aesthetics, and other fantastical topics sure to get you uninvited to these gala events.  The result?  After an hour of inquisitorial questioning, the instructor was so offended she threatened to leave her own dinner.  I must admit, I do at times enjoy ruffling the burlap panties these creatures don.

Ke$sha’s occultic “Die Young”

And so popular art has dissolved into nothing more than rehashed versions of the crap from two decades ago.  Nihilistic hipsterism becomes a parody of itself, functioning like a self-replicating cookie cutter advertisement for the next product of lesser caliber.  With meaning adrift, advertising is synonymous with both art and parody.   Because this was engineered from the era of Bernays on, you see the eventual merging of the couple minute ad into the couple minute song.  The song and its video are an ad for itself, and the next meaningless carbon copy reflection that will come, fresh out of the digital press.  It’s as if you are in a Mall, Wal-Mart or Target everywhere you go, including when you’re watching a music video.  And the same goes for film, as Hollywood has given up on all creativity, opting instead for the infinite replicator machine.  The reason for all this is beyond the mere “making of money,” which is a crucial factor.

No, the oligarchs already own the Federal Reserve printing presses and digital flash trade computers.  Instead, the goal has been the Fabian model of gradual social engineering to destroy aesthetics.  However, the killing of aesthetics comes at a price, as the artist becomes instead the moronic fool who is the best at being weird.  The source for this misplaced belief lies in the assumption that inspiration and the arts themselves are only about emotion.  The dumbing down of the populace at large through mass media and mass drugging has had the cumulative effect of creating the most programmed slaves amongst the circles of creative.
It is entirely possible that many of these proles would have been talented artists, but we’ll never know, as the apotheosis of the weird came at the price of talent.  The social engineers and technocrats have known this all along, and willed instead to annihilate these armies of drones with their own field of focus – a masterful Sun Tzu-style move.  Because the arts are associated with emotion, it was easy to alter this crowd into submission by eradicating reason from the arts, and equating art with pure passion and emotion, devoid of any objectivity.  Whatever one thinks of Ayn Rand, her Romantic Manifesto made this point brilliantly in regard the degeneration of the arts.  Another indicator of the social engineering aspect of all this – to be accepted into this idiot crowd, you must be pro-feminist and pro-gay, and oppose objectivity.

At the point of self-annihilation, the only path left for the art of modern man is the vile, and from the vile, the fetishization and worship of death.  Man reduced to pure passion, giving free rein to and worship of feminism in art, ends in death.  This is not to say men aren’t degenerate, untalented artists, but rather that the rise of the feminine in the arts is also correlated to the rise of death art.   I don’t blame individual women for this, but rather the establishment oligarchs who are corrupt beyond belief, who insist on foisting on everyone else their fixations with death and the vile.
Death really is the overarching concept by which to classify all this, as the same oligarchy that wants to kill the earth’s population down 500 million is the same oligarchy that promotes death art.  What a telling example of this we see in the sooooo avant-garde vomiting chick.   What a revealing image! Her performance art itself exemplifies her subconscious reaction to what she does and what she is about – a war with herself, with art and meaning.  I’m reminded of the excellent Italian film La Grande Bellezza (2013) that chronicles the decline and decadence of Italy, particularly in regard to the scenes with the Soviet performance artist and the hilarious young girl who creates the “screaming art” at the party.

So when these tools of the industry talk about joining and being in the “Illuminati,” it’s more of a joke than it is actually running the globe.  In one sense they are members, insofar as they serve the oligarchies wishes.  Their own art pictures them as mind-controlled slaves and tools, not real witches or geo-political masters.  Much closer to reality, these stars are tossed about by various fads and cults which appeal to the eccentric, so when Katy Perry says she wants to join the Illuminati, she means some Hollywood sex cult, much like what Peaches Geldoff found herself in.  She’s not joining an ancient order of Masonic deists from the Enlightenment.
How much do you think Voltaire and Katy Perry have in common, really?  However, the Eyes Wide Shut-style sex magick cults are very real, and do have influence, but to think this is somehow linked to the rationalist Jacobins is a stretch.  Satanism and witchcraft have been around for a long time, and there are elite families involved, but the top of the pyramid is run by technocratic socialists (the brains) and the top families (the bloods) who laugh at these goofballs, who have neither blood nor brain.  Katy is saying, yeah, I’m up for some sex magick.  The “Illuminati” oligarchs running things see all this obvious garbage merely as a weapon, nothing more.  I will give Katy props for her improve skills, though.

See also Dave McGowan on Covert Ops and The Hippie Dream detailing the intelligence connections to revolutionary art.