FULL DESCRIPTION OF THE PARIS OLYMPICS OPENING AND CLOSING CEREMONIES
The satanic Olympics in Paris are proving to be an bottomless source of anger and ridicule over its Opening and Closing Ceremonies, heavy as they were on Gnostic meaning and symbolism. If the Opening Ceremony occupied the minds of keen spiritual observers for the full two weeks of the Games, the Closing Ceremony is the crowning spectacle of everything woke, demonic and corrupt. Dutch author and poet Jan Bennink (bio) has watched both events for us, so we didn't have to. Read the Opening Ceremony in English (link). Below we will relay the gist of his description of the Closing Ceremony, which according to Bennink, was actually a funeral. But whose funeral was it? According to mainstream news outlets, there's nothing to see here!
Aug. 12, 2024 ENews: Fans react to the Golden Voyager and Other Moments from the Closing Ceremony.
The symbolism of the Closing Ceremony was less in your face than the Opening. It was more subtle, and therefore more impressive and even more ominous in its messaging. Under the guise of an innocent party we were confronted with a funeral, a lament in many parts that perfectly dovetailed with the Opening, as a final to a Bacchanalia. Bennink goes through the clues and rituals in order of appearance.
It started innocent enough with a girl singer performing the song "Under the skies of Paris" in sweet tones. But the message was less subtle as she was wearing a black dress in obvious mourning, accompanied by an eerily looking choir, also in full mourning.
Over her head the golden sun shone like a balloon, the same sun we have seen during the Opening. As the song drew to a close, French swimming champion Leon Marchand, also dressed in black, captures the Olympic flame in a lantern as he files along a black clad honor guard of singers. Then the golden sun makes place for the sun as a 'black hole'.
The black sun is a metaphor for the dark night of the soul, a symbol of desertion and loneliness. We know this symbol as the magic sun wheel in the occult rites of the Nazis. In a poem by Heine (Wiki) in the work of William Blake it is combined with the mythological godhead Urizen; and most notably of Nerval's work, when he writes:
"I believed that the time was fulfilled, and that we were touching the end of the world announced in the Apocalypse of Saint John. I thought I saw a black sun in the desert sky and a red globe of blood above the Tuileries. I say to myself: "The eternal night is beginning, and it will be terrible. What will happen when men realize that there is no sun?"
He reminds us the ceremony of the sun also took place in the Tuileries.
Now the event takes a lighter turn. The Stade de France is filled with young flag bearers as they surround a flat, grey map of the world. Their route takes them from Africa to the US and the rest of the continents. They are followed by the athletes showing their medals as they form a circle around the earth.
"Refugees" are awarded more sun-symbolic medals. A sharply pointed map of the earth is lit, Western Australia, Norway, China and South America. Some parts are white, others nebulous like the US, while some are grey. It is as if to convey the message that various countries await different fates.
The Dutch television commentator reads from a preprinted description -- without probably understanding one iota of the text -- that what we see here is "records, reflective of the achievements of the athletes as well as the final echoes of our shared humanity".
The commentator reads that we are being presented with an image of the future, in which the Games have disappeared, as the lights are dimmed and the music become more sinister. The optimism fades as the arena is cloaked in silence and darkness. He continues.
"We will discover symbolism by which the Games are being rediscovered". The director had in mind to build a human monument like The Golden Record, a capsule containing human values, sounds and images that would be rocketed into space in order to alert aliens to our presence and to entice them to come to earth. The map has now become foggy.
It reminds Bennink of Genesis 1:2: "And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters." And then there was light!
A shining, golden appearance with wings and antenna slowly descends into the spotlights. Probably Sol Invictus, the invincible sun that also figured largely in the Opening Ceremony. Or was it the Beast of Isaiah? "How art thou fallen from heaven, O Lucifer, son of the morning! How art thou cut down to the ground, which didst weaken the nations!?"
Or one of those horror locusts wearing golden crowns from Revelation 9, that would torture humanity unbearably for five months?
Or, and this is what Bennink thinks, this is the king of locusts. The hero of NASA; the Angel of the Abyss, whose name in Hebrew is Abaddon and in Greek is Apollyon, the Destroyer. [Book of Revelation (9:11]. Apollon is often associated with Bacchus [Greek: Dionysos, French: Denis].
Apollyon who in the Stade de France is being depicted in a circle of light, is wasting away in the darkest depths at CERN (link), but is patiently waiting for deliverance by his subjects. Maybe that is what we witnessed? The liberation of the Sun God, the destroyer.
Are they calling here for the end of the Games and of the world as we know it? Gog and Magog? The lonely, elegant, golden king of the locusts has landed and is peeking awkwardly into the fog, as if he is looking for someone.
"A dystopic journey to the foundation of humanity", barks the commentator. "A dystopic image in which a negative perception of the future is being drawn, in which the Olympic spirit shall be reborn". The contrast with the glowing athletes of half an hour ago, could not be greater.
The television commentator seems oblivious of the fact that the great destroyer himself just landed on an uninhabited earth. He goes on about the Olympic spirit of connectivity and fraternity. While Apollyon has just come to do the opposite.
He continues running his mouth about "the rebirth of a new idea". But what I see here is the craving for an entirely different resurrection. A build Back Better on steroids, on a barren, empty earth according to the visions of a different god.
He does not ask himself, Why would you want a resurrection if you just had the most successful Games ever? Why the funeral? Why the mourning? Bennink continues to follow the trail.
The 'white knight' from the Opening Ceremony re-approaches, on foot and with a folded Greek flag, as on the opposite side the Assassins Creed type from the Opening enters, holding a golden flag pole. They approach Apollyon and hand him the flag.
As soon as Apollo plants his Greek flag, earth is being shrouded in clouds and fog. Then, the Greek goddess of victory, Nike rises up, headless and without arms as the statue was excavated and spirited away to the Louvre. Perhaps a sign of a superior, lost civilization.
Apollon crosses his arms before his breast, as a sign of supplication to Osiris. Osiris is the Egyptian equivalent of Apollo.
A large bird in the headlights flies over the spectators. Flocks of white demons are landing on earth looking for their master. They bow and dance to him.
They hit the earth as if they want to wake something up. CERN knows all about that. The demons now turn themselves into giants by standing on each other shoulders, a nod to the Anakin, the Nephelim, the offspring of fallen angels.
Golden rings measuring six meters high are being raised as a symbol of resurrection of the new Games. The hymn to Apollyon is played accompanied by a grand piano that is raised bodily, together with the pianist as a gigantic black phallus. The commentator has seen the light! "Apollon, god of the sun", but fails to connect the dots with the golden locust.
The white demons are starting to move the golden rings forward and into the sky, forming a chain around earth. Over the demons a satanic image appears briefly before the golden Olympic symbol appears and Apollyon, the destroyer takes a seat on top of a tower of demons. His throne made up of people.
"The Games have been reinvented", concludes the commentator. "Connectivity, peace, freedom and fraternity". Yeah, sure.
The ceremonial part is now over. There is a retrospective about the athletes with an emphasis on accidents and falls. Then the camera over the Stade de France turns, showing a map of the earth having changed into the image of a dragon, a beast or a phoenix holding a spear. Australia forms the tip of the spear.
It is perhaps not entirely by chance that the band Phoenix starts the musical proceedings with the song Lisztomania, a term also coined by Heine (Wiki) with reference to the mania surrounding the pianist Franz Liszt (Wiki) in the Romantic Era.
The relative innocence disappears when DJ Kavinsky (Wiki) with reflective red satan's eyes takes over the show with a song fatefully titled, Night Call. "I want to show you where its dark, but have no fear", a passage from the song says it all. EP 1986 , which includes the SS rune, states that Kavinsky died in a car crash in 1986 driving his Testarossa.
"He re-appeared as a zombie in 2005 with this 12 minute long song "Teddy Boy" which included his first hit, "Testarossa Overdrive" and remixes from thelegendary Mr Oizo and Arpanet. Since then, he has shown up all around the globe, playing his music to fellow humans. Crowds gathered to witness the miracle: despite being dead, Kavinsky was still alive…"
What has this ink black music to do with the end of an upbeat sporting event, you might ask? Or was this the end of humanity? We've been enticed by bright colors and words, as Kavinsky's beautiful, blond daughter, Angèle reminds us, into the darkness by his enchanting words (video).
After enduring yet another piece by Phoenix, we are presented with a Cambodian rapper, and a guitar player in the costume of an executioner performing a shrieking solo from the position on the map that is Australia.
Air takes over with the innuendo heavy song "Playground Love", followed by Ezra Koenig. Next are the speeches.
Thomas Bach of the IOC using all the politically correct buzz words like "inclusivity" and "sustainability" emphasizing these were the first Games with "full gender parity", which we saw for ourselves when in the women's boxing matches a guy broke a woman's jaw.
Bach omitted the most important part. "Vous pouvez être fier pour toujours" [You can always be proud of yourselves], does not cut it. The Olympic Hymn was performed, the flag came down and was handed to the Mayor of Los Angeles, of course dressed in red [apparently some woke code].
What followed was a less subtle promotion effort by the US, starting with an off script lady in shades singing the US National Anthem off key while being in France.
Things were getting more exciting with the appearance of Eyes Wide Shut actor and member of the Scientology, Tom Cruise looking like twenty after a life-long diet of adrenochrome.
Top Gun Tom flies the Olympic flag from Paris to Los Angeles, where he lands in the hills of Hollywood right at the sign spelling "HOLLYWOOD", a name with strong links to sorcery and druids.
Finally the flag ends up on L.A. beach at a performance of the Red Hot Chili Peppers playing Johnny Cash's song "God's Gonna Cut You Down" and the album "Blood Sugar Sex Magik, a reference to old master occultist Aleister Crowley.
They play "Californication", well known to conspirenauts because of the text, "Space may be the final frontier, but it’s made in a Hollywood basement". This is followerd by Satanic sweet heart Billie Eilish and Snoop Dog, this time without the Baphomet necklace.
All of a sudden we're back in Paris with Leon Marchand and the Olympic flame which by now has become quite small. Thomas Bach puts an end to our misery. Or so we thought. An obese singer in mourning, Yseult Onguenet closes the proceedings with the song that can be heard at many a funeral, "I did it my way".
Something was buried in Paris. If it was the Olympics, the present world, the Western world or just the people in it, I am not sure at this stage. But I am convinced that CERN and Thomas Jolly [the artistic director of both ceremonies] and his demons will do their utmost in the coming years to liberate Apollyon, the destroyer from his dungeon.
One final thought. Why did Thomas Bach break with the traditional claim that these were the best Games ever? Perhaps because mourning can't be reconciled with the optimism of perpetual improvement?
This was not just any party. This was a funeral. But whose funeral? I wouldn't care to live in Australia right now.
Throughout this piece Bennink is refering to the Biblical Apollyon as described in the Book of Revelation 9:11. He is not to be confused with the ancient Greek god of moral order and music, shepherds and healing.
Here's a link to an article in the mainstream media reporting on the satanic Paris Olympics closing ceremony (link). You'd think they watched an entirely different event.
Just after the Closing Ceremony a Greek news agency reported briefly that the government had lodged a protest with the committee over the use of "a symbol" at the Paris Olympics. But then a huge wildfire broke out that threatened Athens itself, and the entire news item, poof, mysteriously disappeared.
If the Paris Olympics are anything to go by, the LA. Olympics in California are going to be a source of outrage of no comparison, if we can still manage it by 2028.
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