Most of the articles found on The Vigilant Citizen have discussed the Illuminati symbolism found in the works of American artists. In the last years however, the J-Pop (Japanese pop) and K-Pop (South Korean pop) industries have been producing their own factory-made pop stars to serve the enormous Asian market. Considering the importance of its large population, it is not surprising that the popular culture of the Far East is heavily tainted by the elite’s agenda.
Narsha’s video Bbi-Ri-Bop-A is a prime example of Illuminati symbolism in K-Pop, using the same story line, symbolism and color codes found in other ritualistic videos described on this site (see Rihanna, Lady Gaga, Beyonce). The homogeneity of the messages the global population is exposed to is becoming increasingly apparent as cultural and local differences are being replaced by a single, calculated and debased popular culture.
Here’s the video with subtitles.
Analysis of the Song and Video
The song and video revolve around the themes of ritualistic initiation and spiritual duality, which have both been abundantly observed in other videos. Narsha starts by being a good, godly girl and undergoes a profound spiritual transformation.
The video begins with an average working guy (representative of the masses) working hard for his money. While drilling a hole, he accidentally uncovers a secret underground world that immediately attracts him.
He peeps through this world with his left eye, symbolic of the Eye of Horus and/or the All-Seeing Eye.
He is then swept into an alternate, spiritual world—some might call it the astral plane—where he must choose his spiritual destiny.
Narsha poses as a dualistic spiritual being, starting the video wearing classical Christian symbols.
Narsha wearing Jesus Christ’s crown of thorns in front of a solar halo
The lyrics of the song invite the listener to follow her into a place “without sadness and happiness,” “with no disease,” but that is still compared to a nightmare. During the bridge of the song she says:
People that are worn out come to me
Give me your worn out soul
I will erase for you every memory you want to erase
What you want boy, what you want girl
Try to believe me, entrust me and come into me
While those words are being said, Narsha undertakes a visual spiritual transformation, illustrating the lyrics’ deeper meaning. Indeed, she is going from being godly to luciferian.
At the start of this pivotal scene, Narsha is dressed like the Virgin Mary, in a white robe— representing purity and innocence—and is praying assiduously. A supernatural force then intervenes and starts her metamorphosis.
Narsha’s virginal white robe turns to red, the color of sacrifice and initiation
Narsha has her purity “tainted” by the supernatural force. She then changes into a crow and flies over to the trident in front of her, symbolically representing that she has gone to the “dark side”.
The trident is also known as the “devil’s pitchfork” in religious iconography, as the adversary of God is often depicted holding the weapon. The trident can also be associated with Shiva the Destroyer and Poseidon, two mythological figures usually depicted holding a trident and who are of great importance in secret society Mystery Religions.
The devil, Shiva and Poseidon play similar roles in occult allegories.
The red-headed Narsha then zips through the forest where the construction worker is still looking for answers. The singer stops and unfolds big black wings, in a tribute to Lucifer, the Fallen Angel. Narsha is in tears and looks troubled, hinting to a sense of pain and regret.
The construction worker is nevertheless attracted by the beautiful temptress and goes to her.
Narsha smiles with satisfaction. The same way she was tempted to convert to the dark side, she uses her alluring powers to bring other people to it.
The worker (who, remember, represents the ignorant masses) is then shown laying on the floor, dumbfounded and bewildered. We are back in the “real world”, hinting that the entire scene took place in the man’s spiritual interior.
The video to Bbi-Ri-Bop-A symbolically portrays what happens in the occult entertainment world. Promising young talents looking for fame and riches are chosen and “initiated” by the elite. The stars are then used to charm and attract unsuspecting minds—the fans—who admire and imitate them, ultimately adopting the values the elite wants them to adopt.
K-Pop’s latest puppets?
SHINee is one of Korea’s most popular music acts. What seems to be an Asian male version of the Pussycat Dolls released a second album that seems on par with the Illuminati’s Luciferian agenda. It is subtly called … Lucifer. Here’s their video of the same name:
There is no elaborate storyline in this video just product placements from BMW, complicated hair and a supernatural force (Lucifer) mesmerizing the singers.
The song’s lyrics compare the love of a treacherous woman to the spell of Lucifer … or is it the other way around? Here’s an English translation of the lyrics:
[Lyrics to Lucifer omitted because OP is lazy]
I feel like I’ve become a clown trapped in a glass castle … what an interesting way to describe the fate of pop stars. Like their counterparts of the Western world, these pop stars sing about being trapped, used and confused while their young fans dance and recite the words. As if to confirm the occult inspiration of the song, the video finishes with a shot of all the group’s members flashing the hermetic sign of “as above so below”.
SHINee pointing one finger up and one finger down well[sic] singing the word “Lucifer”
What other figure displays that sign? Oh yeah: Baphomet.
The whole “loverholic, robotronic” bit is reminiscent of the transhumanist theme found in western pop videos. The same mix of occult, robotic, mindless, mechanic and sexually ambiguious imagery found in Western Pop is found in the Illuminati-controlled K-Pop.
Overt occult imagery is also found in the group’s performances. Take a look at the stage they performed on in a recent performance.
SHINee litterally surrounded by a Masonic checkerboard pattern. I guess we know who owns them.
Trivia: What was the name of the other single they performed on this stage? Up and Down … Yup, as in “as above , so below”.
As popular culture is being produced by an ever-shrinking number of media conglomerates, we are witnessing a homogenization and standardization of the message that popular culture delivers. Through Narsha’s video, young Koreans are exposed to the same spiritual ritualism that young Americans witness through Lady Gaga, Rihanna or Christina Aguilera. Throughout popular culture, young people in America, the UK, Australia and Korea—and anywhere else that gets MTV—are exposed to the same “trends,” symbols and messages as their idols transmit to their fans the Illuminati agenda in a strikingly similar fashion: the same symbolism, color coding and hidden meanings are inserted in the videos as if they’ve all emerged from the same blueprint.
The elite’s New World Order aims, as its name implies, to cover the entire world. To acheive this, the world’s population must embrace the same culture, the same values and the same messages. Who better than “clowns trapped in a glass castle” to embed those messages in the minds of the younger generation?
Source: Vigilant Citizen, AznSamManTV @ YT & KyuleeKPOPMV @ YT
Bolded for the TL;DR crowd. I always knew SHInee had Illuminati connections... idk something about Taemin always gave it away