Dead Eyes Don't Lie
Dead Eyes Don't Lie
Society Normalizes and Incentivizes Satanic Pop Culture Child Groomers
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Corrupting Yooots
In 399 BC, Socrates was tried and sentenced to death by hemlock for corrupting the youth of Athens. His crimes? He loitered in the streets and spoke to young men on the brink of adulthood, drawing them into vices that unsettled the polis. He invited them to escape the habit and drudgery of their world with tightly rolled purple cookie monster kush joints to ease the stress of prepping for their geometry exams, and showed them his collection of Only Macedonians— pin-up reliefs, one of which depicted a woman providing a different kind of relief for 1000 Athenian soldiers in a single night.
When the Lyceum in Athens hosted its Spring Greek formal, Socrates would show up with chariots stacked with kegs of Egyptian barley beer and taught the bright-eyed initiates of Alpha Chi Omega, Delta Gamma, and Kappa Kappa Gamma how to perform the first documented keg stand in Western civilization. Plato later wrote that the altitude of one’s ankles “offers a reliable measure of the soul’s commitment to courage.”
When the Panhellenic council got word of Socrates encouraging young sorority initiates to bed their fraternal counterparts to experience “the dialectic of desire through mutual exploration”, their attempts to ban him from campus were met with the first organized youth protests for legalized abortion, which would be handled quietly through state-sanctioned herbal tonic terminations performed by licensed midwives.
He even ventured into the ghettos of East Athens to sling crack cocaine furnished by the Athenian Intelligence Agency to bankroll their failed excursions with Sparta. The Cushite youths in the ghettos begged him for Glocks with switches, spinning rims for their chariots, and beats with bars cuttin’ like a switchblade. Some days, for pure amusement, Socrates would stand on street corners to watch the young women of East Athens scuffle in the form of yanking each other’s wigs out, while yelling things like, “Tyrone be my man, you skanky ass ho!”
Oh, how times have changed.
With the help of parents, encouragement from the state, and its corporate masters, corrupting the youth has never been easier. The entire culture of certain Western nations (marked for deliberate extinction) elevates the institutionally funded physiological and psychological descent of children, whether through poisons posing as medicines, poison passed off as food and water, or the often overlooked pop culture poisons masquerading as harmless amusement and entertainment.
Cue millions of parents participating in their children’s demise: Relax, honey, it’s what the kids are into these days, and there’s nothing wrong with letting loose now and then. You remember when we were young, and besides, we turned out okay.
The distance between those parental passive justifications and a trip to the abortion clinic is often a matter of getting into the wrong car, to impress the wrong boys after five hard ciders.
The parents may have escaped it all when they were young, by sheer luck, but it won’t be easy shielding their children from the same cycle because things are very different now.
It’s easier to normalize the abnormal, even if it’s destructive, when “everybody’s doing it.” The assimilation of their children into the permitted behaviors of their circle of friends is more important to parents, who would, these days, it appears, rather be liked by their offspring to avoid conflict than to exercise any caution or impose any limits on their social adventures.
And so the Disney movies and pop stars and infloooencers and celebrity culture groomer meat grinders await the children of the clueless, absent, or passive parents.
The entire process of endorsing mass-produced, highly curated debauched pop culture slop enriches corporations that produce marketable personalities with predictably corrupting arcs, crafted in advance and sold as entertainment.
Children study these figures with the goal of emulation to obtain social capital. Imitation is a substitute for actualization in the underdeveloped mind, though not all cultures of civilizations exalt the worst possible figures for imitation. The youth of Sparta reached toward Achilles for courage and strength, and it wasn’t more than three generations ago that the youth of Christendom (sans Schofield chicanery) reached toward Christ for sacrifice, discipline, humility, and virtues that lifted the spirit in service of others, not just self.
Postmodern youth of the collapsing West receive corporate Satanic idols (fallen angels) in place of heroes, and the difference shapes everything that follows.
The subversion of a society or state always comes from within. But it cannot arrive without the willingness of that society to first participate in its own moral decline, which must become generational. Subversion targets the easily malleable youth with the normalization of behaviors that were once considered shameful or debauched. The needle of subversion moves that society ever closer to collapse as they collectively formalize the freak shows with their endorsements that keep them flourishing—time (attention) and money.
Most parents remain unaware that when they invite a television, an internet connection, or digital devices into their child’s world without guidance and limitations, they usher agents of the Groomer Industrial Complex into the foundations of the child’s psychosocial formation. By the time that child reaches adulthood, they will either spend years repairing the damage carved into them, or they will move through life absorbing harsh lessons shaped by the wounds of their youth.
American parents have no idea how much of the national economy depends on shut-them-up parenting—the screens, the neon cereals with Yellow #2 dyes, the lab-made chicken nuggets, the fast food laced with industrial engine lubricants, the tablet-as-babysitter, the digital drip-feed that keeps little hands occupied while corporations hollow out their minds.
If the non-essential, purely pacifying, languid entertainment economy built to destroy children were shunned by parents, the United States would lose almost three percent of its GDP overnight, and be 100% better off for it. That collapse alone exceeds the entire economies of Portugal, Greece, New Zealand, Hungary, Finland, Croatia, and Lithuania combined.
The moment parents decide to stop financing the billion-dollar Disney-esque groomer circus designed to numb their kids and furnish them with warped aspirations will be the moment the future improves for the next generation. That a nation’s prosperity is tied to its children staying pacified, hypnotized, overstimulated, underdeveloped, and fostering habitual formations that seek to keep them from a higher spiritual purpose is a nation already lost to the forces of subversion.
The good news, which I’m often short on, is that this can all be reversed within one generation, if enough of the masses ever became aware and decided to rebel against the groomer industrial complex, which would begin with another expulsion of the…ahh damn it, I’m still short of good news. That’s never going to happen.
Most people just don’t have the stomach for real solutions, and so they aren’t going to make it.
But that’s not stopping me from making Good Citizens aware of available probiotics so they can protect their family from the Satanic dysentery.
If a sick society engages in the normalization of the abnormal and unnatural, then it stands to reason that the first cure is to escape and reject the popular conventions of that society.
Like Britney Spears undoing years of trauma, abuse, exploitation, neuro numbing medication, and becoming sane again, it’s all easier said than done.
Recyclable Transformations
New heroes of the popular culture industrial waste sector are furnished for every generation, and each one is no different than previous generations.
It’s not out of the realm of possibility that there exists some factory where they A-B test future jailbait teeny-bopper pop stars and movie stars, perfectly groomed to provoke dirty thoughts in young boys, which young girls around them notice and try to emulate for the attention of said boys.
These pop stars aren’t just females, and they all start as wholesome and “cute”, with the past generations dubbing the males “heartthrobs” and the females “starlets.”
Before there was Justin Bieber, there was Andy Gibb and Leif Garret.
Most of them never lasted and were recycled out for a new “latest thing” heartthrob. A select few transformed from child star or teen dream to young adult sensation.
From the 1950s to the 1990s, the industrial cycle was mostly determined by the marketplace, with the tastes of the consumer frequenting Tower Records’ aisles having greater power over who stuck around and who crashed out.
Earlier this century, as the digital transformation of the music industry saw profits collapse, a shift toward touring, music videos, and cross-promotion opportunities through film and television gave rise to Disney-groomed hit makers like Justin Timberlake and the Jonas Brothers, with actors like Shia LaBeouf, Ryan Gosling, and Zac Efron groomed through the same factory.
With the disappearance of consumer power in the music marketplace, Disney and a few talent shows monopolized the mass-produced culture slop. Each of the chosen “stars” was either voted on by audiences at home and then groomed by the industry, or intentionally shoved through the Mickey Mouse groomer grinder from their pre-teen years. The youthful, innocent “fans” and clueless parents were made easy marks for their setup and grand transformation.
Britney Spears, Christina Aguilera, Miley Cyrus, Selena Gomez, Demi Lovato, Hilary Duff, Bella Thorne, Zendaya, Vanessa Hudgens, Ashley Tisdale, Bridgit Mendler, China Anne McClain, and Raven-SymonΓ©, and most recently Sabrina Carpenter and Olivia Rodrigo—each shaped inside a corporate pipeline that manufactures innocence, scripts the pivot into young adulthood, and recycles the formula used on Spears and Aguilera nearly three decades years ago.
How long until Carpenter and Rodrigo realize they can make 100x more money on OnlyFans than as music industry puppets?
The music industry cabal is in bed with the porno smut industry, so they’d have no problem with it. Those starlets will just be replaced, and they’ll all celebrate the promotion of pornography to the youth.
It didn’t take long for Bella Thorne to do the math. As a tool of Disney, she was used and abused like all the rest, and all for a couple of million dollars, most of which was probably pilfered by parasitic agents and managers.
Her liberation came in the form of pornography, which shot her loaded fortune up to $15 million within a year, sending the message to all her young, adoring female fans that their bodies are their greatest source of independence and financial worth. A wholesome and inspiring message. Today, nearly 1.3 million women in the US get naked on OnlyFans (yes, the owner is, thanks for noticing), with 98% of them barely earning more than a Walmart greeter.
Getting molested from when you’re six to when you’re thirteen seems like way harder circumstances, or being physically abused all the time seems like a much more difficult situation…the type of mistreatment that I was dealing with at that time, that everyone around me saw and did nothing.
— Bella Thorne
(Go to the source to watch the video.)
None of this is new. It has simply become normalized and celebrated by the catatonic masses. The entire “entertainment” industry has always been run by sicko pervs and pedophiles who worship money at the altar of cultural subversion.
In the 1980s, MTV hit the cable television scene, and viewers could tune in and drop out by moving the plastic white switch on their little boxes all the way to the end—channel 36. The new visual medium was a goldmine for the music industry, but it elevated the industry’s youth grooming capabilities to a higher level.
One of my earliest childhood memories was packing onto the sofa of a neighbor with a bunch of kids from our middle-class enclave, watching Toni Basil sing her one-hit Mickey. A few songs later, Madonna was on the TV singing “Like a Virgin,” where Madonna sings that she is lost and incomplete until she finds a boy to fuck her good. From that family’s kitchen, the father came storming into the room: “Wendy! What in the hell is this garbage you’re watching!” His daughter protested as he smashed the power off button on their big square Hitachi programming box.
I made it through the wilderness
Somehow I made it through
Didn’t know how lost I was until I found you
I was beat, incomplete, I’d been had
I was sad and blue, but you made me feel
Yeah, you made me feel shiny and new
Like a virgin
Touched for the very first time
Like a virgin
When your heart beats next to mine
Kabbalah Madonna was groomed in New York City in the early 1980s, just like Lady Gaga would be twenty years later. Their career trajectories are almost a mirror of calculated chronological plot points, from transitioning to films to performing at Stupor Bowl halftime shows.
Somewhere along those paths, you have to wonder what other “sacrifices” Gaga and Madonna made for fame and fortune. It doesn’t take a wild imagination, given Bella Thorne’s confession.
Here’s one of Hollywood’s earliest starlets, Shirley Temple on meeting with a film producer, Arthur Freed, privately at the age of twelve. Freed stripped naked in front of the young girl, while her mother was being accosted by MGM honcho Louis B. Mayer in a nearby private room. Yes. Yes, they were, thanks for noticing.
(Go to the source to watch the video.)
Satan’s Little Helpers
To find fame and celebrity requires one to sell their soul to the Satanic forces that decide who will be welcome into the coven of fallen angels. The more they sell their souls, the greater their career trajectory and the more riches fall into their laps.
The one thing they all have in common?
Their eyes are dead.
They’ve sold their souls, and so they exhibit no sign of life behind their empty gaze, as if they’ve been put through a psychological ringer to remove any semblance of humanity or life that once existed within them. Pop stars shift from bubble-gum innocence to “fallen angel” imagery the moment their marketing teams push them into an adult rebrand.
Award shows frequently feature winged performers rising from smoke, descending through fire, or moving through choreography that resembles occult pageantry. Stupor Bowl halftime productions get the most viewership, so this is often ground zero with stages designed as temples, altars, gates, or infernal hellscapes. MTV’s annual Video Music Awards operate as a showcase for ritual costumes, horned silhouettes, masked cults, and symbolic rebirths executed in front of millions of children and teenagers.
(Note: each one of these performances has between 20 million and 120 million views on YouTube)
Madonna stepped onto the 2012 Super Bowl stage, carried like a Kabbalah-anointed high priestess on a golden throne, with a gold devil-horned crown, surrounded by visual motifs drawn straight from ancient Egypt, and of the ancient decadence of Babylon. It wouldn’t have been a half-time show without the masonic symbolism in the eye of providence, which also appears on masonic US currency.
BeyoncΓ©’s 2016 Super Bowl performance delivered costumes inspired by Marxist Black Panther symbolism and formations interpreted by many viewers as militant, esoteric, or occult ritual gestures.
Lady Gaga began her 2017 Super Bowl set by singing patriotic lines from a stadium roof, with dark Paedo Industrial Complex (child rape) “Panda Eyes” before leaping downward in a staged “fall from the heavens” that echoed the visual theme of a ‘fallen angel.’
Katy Perry’s “Dark Horse” performance at the 2014 Grammy Awards featured black-robed dancers, a witch’s cauldron, fire pillars, and a setting constructed as an infernal ritual chamber. A black or red cross rotated (often inverted), stylized, or placed within a “witches’ sabbath” environment signals transgression, ritual power, or magical identity as part of a sorceress persona, and obviously not Christian imagery.
In a nod to the repetition of blasphemous content, Christianity is always the target of the pop culture slop, and never Judaism (shocking!) or Islam or any other religion. Sabrina Carpenter’s music video for “Feather” recycles the same old themes common in most of her videos, and also mocks Christianity.
She’s a slutty girl prancing around the city, and all the boys want to fuck her, but she isn’t having it. Her body is the temple, and all the worshippers will be sacrificed fighting each other over access to her. Her pussy is the power, and she weilds it over the idiot, perverted boys who will never get their dicks inside her. In every song of hers, the boys are clueless, reckless, and horny and offer nothing of value. A fine message to send young girls.
The ending features death inside a Catholic church, with her dressed in a slutty black lace dress. It’s all so obvious and tiresome, but the parents have no clue how their young girls are being groomed to see their bodies as tools for leverage, sex as empowerment, and young men as perverted predators to be toyed with.
The producer of this video and many other pop stars’ videos with similar Satanic and hypersexual themes was named music video producer of the year last year. Awards are only handed out to those who push the corrupting agenda.
Nearly every popular event, music video, world tour, or performance from the past decade features the same recycled Satanic garbage.
Doja Cat’s 2023 VMA performance was in crimson demon-skin blood-soaked costumes, prosthetics, and staged tableaux that resembled more infernal cauldron imagery.
Billie Eilish started sweet and innocent, as they all do, with her vocal talent out front, leading her rise to stardom, and then like black magic, right on schedule, as her fanbase reached puberty, and millions of young girls adored her, she released videos such as “Bury a Friend” that use needles, shadow figures, and dream-demon symbolism to convey a descent into anxiety and psychic torment that is more suicildal ideation and glorifcation than pop music.
How many tormented young girls has the character known as Billie Eilish created? How many has she sent to psychiatric hospitals or the morgue?
Am I satisfactory?
Today, I’m thinkin’ about
The things that are deadly
The way I’m drinkin’ you down
Like I wanna drown, like I wanna end me
Not to be outdone by Suicidal Billie Eilish, she followed that up with more of the same predictable slop with “All The Good Girls Go To Hell.”
Seriously.
They just don’t even try to hide anything anymore. It features the usual fallen dark angel imagery (demons) and sicko lyrics that may have even forewarned about the coming California fires that wiped out entire neighborhoods with thousands of homes. Revelation of the Method and all that.
Hills burn in California
My turn to ignore ya
Don’t say I didn’t warn ya
All the good girls go to hell
‘Cause even God herself has enemies
And once the water starts to rise
And heaven’s out of sight
She’ll want the devil on her team
My Lucifer is lonely
The demonic, death-cult, Church of Satan glorifying slop is not new— it’s just ubiquitous and more cloaked for pop culture consumption than it used to be.
Marilyn Manson filled Ozzfest stages with upside-down Bible readings, occult props, and theatrics drenched in LaVeyan shock tactics. Slipknot built its entire public persona around ritual masks, anonymous cult-member aesthetics, and stage performances that replicated the feeling of an underground initiation rite.
The examples are too numerous, but you get the point.
Nobody gets “famous” or “rich” without selling their souls.
That includes everybody with a large platform.
Academia’s Misdiagnosis
In the late 1990s, I met up with a friend on holiday break for pints and billiards. He told me about a women’s studies course he just finished where he was the only man in the room. His excuse was that he needed the credits and thought the women there would be “more liberated.” I accused him of white knighting for feminists who would never treat any relationship he had as anything more than a power struggle where they had to have the upper hand. When we moved on from his “getting laid” exploits, which unsurprisingly failed, we got to the syllabus.
They spent an entire week focused on old Disney movies that “perpetuated the Patriarchy” by pushing “traditional gender roles” on young, impressionable girls. The usual feminist garbage, “We don’t need a prince charming!”
Around this time, Britney Spears was just launched into the stratosphere with her song “Hit Me Baby One More Time,” where she dances around a school in a crop top and a short schoolgirl skirt (jailbait). We discussed her and Christina Aguilera’s rise to fame, noting they both came from Disney’s Mickey Mouse Club.
To the Women’s Studies Professor, this wasn’t a problem. It was far worse to push “traditional gender roles” on young girls than to push hypersexualized pop stars from the same corporation.
Promiscuity, youth sexualization, nihilistic empowerment, and the “liberation” that destroys self-worth through deliberately destructive behaviors are fine.
Wholesome Prince Charming in old Disney movies was the problem.
Multiply this times hundreds of Women’s Studies and Gender Studies departments across the country, churning out millions of brainwashed young low T men and “empowered” women, and it’s not difficult to see how the cultural subversion has rotted so deeply within society.
Whatever the qualities of the parents, their virtues and their vices, and whatever trace they leave everywhere, the child receives it, and we carry that imprint in our bones.
— Juvenal
Satires
Groomer Hemlock
The innocence-to-corruption cycle arrives in each generation with clockwork precision because it works. Corporations shape the grooming of young audiences via the transformation of their idols as a normal passage into adulthood. The public absorbs the debauched spectacle and mistakes it for a natural evolution of human desire.
As I wrote in a recent post on child trafficking, young minds hold the capacity for imagination, wonder, courage, discipline, and the formation of real character. They are the future of any society. Destroy them in the present, and any society’s future is doomed. Any culture that hands its children to this system forfeits its future to forces that want to devour as many young souls along the way.
The heroes we elevate shape the path of the youth. The stories we reward mold their expectations for life. If we feed them a Babylonian carnival, they will grow into adults who chase self-destruction. If we offer them genuine models of wisdom and maturity, they will grow into adults who understand how to build, how to love, and how to stand upright in a world designed to knock them down into patterns of destruction.
This entire cycle ends when we starve it.
And a new one begins when we give the young something better to rise toward.
The old machinery may be breaking down fast.
Something healthier and righteous can rise in the space it leaves behind.
I did say I’m often short on solutions, but the trends of recent years offer some hope.
Box-office failures are piling up like sudden coincidences in a blue city morgue. Studios can only shovel out remakes, sequels, reboots, and CGI slop. Humans have left the cineplexes, and that’s a good thing. They’re tired of watching propaganda and not art. They’re exhausted with actors delivering lines written by Marxist activists masquerading as screenwriters, and they’re tired of being lectured at, especially with diversity casting choices. Each flop shrinks the relevance of a rotten institution.
Celebrities are becoming irrelevant. Many actors and comedians are now prone to starting podcasts to supplement income, but nobody tunes in to hear what they have to say, because the people know they are controlled puppets, pushed into stardom by ritual and sacrifice, and they have nothing original or worthwhile to offer their audiences. Only the barely sentient normies are tuning in.
While a centralized culture machine has always curated content for consumption and selected which voices to elevate, to control the narratives for the masses, it’s become a lot easier to spot the setups and the pitfalls.
Neoliberal Feudalism’s recent post on the CIA controlling culture since the 1950s, and deciding which voices to promote and compensate, and which to ignore, is well worth the read:
Still, Pop music often slips past inattentive parents and targets children with precision-engineered recycled “good-girl-to-bad-girl” arcs repeated for the fiftieth time.
Although each new starlet feels like a paler version of the one before her, with the fingerprints of her artificial creation easily identifiable. The machine keeps pushing out the same heartthrob templates, the same sexualized metamorphoses, the same Satanic-scripted rituals and symbolism, and the same ritual sacrifices (Prince?). But I do believe with each recycled storyline, the spell weakens, and parents begin to wake up.
Corrupting the youth doesn’t have to be an inbuilt mechanism of cross-promoted corporate cultural slop industry that targets their minds for degradation, debauchery, and decay.
If Athens executed Socrates for elevating youth, and teaching them through deductive reasoning the errors in the patterns of their thinking, and the rot of social conventions, what does it say about us that we celebrate those who degrade the minds of even younger children for profit in ways that would have made Socrates weep?
It’s time to give the hemlock to perveyors of cultural slop, the perpetrators of Satanic imagery who sexualize youth in the promotion of the pornographic and paedophilic, and the profiteers of curated subversion.
If we can’t do it on a societal level, it’s the duty of every parent to wield their only weapons by withholding their time (attention) and money.
As one of the original child-to-adult pop stars, Michael Jackson once sang, “They don’t really care about us.”
He began to notice patterns that weren’t permitted.
Within a year, he was accused of abusing young boys, and those headlines chased his reputation for a decade.
And after stealing his Beatles catalog when he buried himself in financial problems, they probably sacrificed him, too, for telling the truth about all this.
Source: The Good Citizen
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