Current commercial hip-hopper Azealia Banks has made it quite clear how she has been fully endorsed as an all round useful illuminati puppet, with the recent release of her new video Yung Rapuxnel which received over half a million YouTube views within days of being uploaded.
The name of the song refers to the artists apparent alter ego, which is a popular theme amongst illuminati industry puppets and signifies the split personality traits they experience after having gone through dissociative mind control programs to ensure they fully obey their masters and remain mentally detached from the content that they are promoting.
The video begins with the rapper repeatedly uttering the words “I wanna be free”, communicating how she is now under the custody of her industry controllers whether she likes it or not, before subsequently launching into the usual barrage of blatant occult symbolism and illuminati agenda themed visuals. First we see an owl, most likely symbolising Moloch, an ancient Semitic deity that the illuminati still worship to this day during annual rituals at Bohemian Grove for example, exiting from her ‘third eye’, signifying how not just her mind but more importantly her higher consciousness, or spirit, is now under the command of the illuminati occultists too.
We then see a spinning Yin & Yang symbol which comprises the pupil of a large all seeing eye, with another blinking eye in the palm of a hand sitting on top of it. The spinning of the well known Taoistic symbol here represents the naturally interdependent dualities of good and evil, light and dark etc being manipulated and perverted by the illuminati in order to blur the lines between them.
Following more symbolic owls of Moloch and plenty more all seeing eyes in places of prominence, we then see Azealia atop a large bull, which can only represent the ancient Mesopotamian deity Lunar, whose horns symbolised the crescent moon – hence Azealia riding the bull under an eerie crescent moon. The bull deity was also worshipped by other ancient civilisations from the Egyptians to the Greeks, who in fact designed the Brazen Bull, a horrific execution device in which people were locked inside a hollow bronze bull and a fire was then lit underneath it to sacrifice its occupants by roasting them alive – lovely.
To top off the dark and depressing production, there’s slow motion imagery of aggressive riot police throughout, with batons drawn, which is an obvious attempt at subconsciously programming those watching to accept the impending police state and send the message that resistance is futile – so don’t bother trying to ‘revolt’, which is actually a good sign as it shows that those in power know that more and more people are awakening and will soon pose a genuine threat to their outdated ruling hierarchy.