Aug 17th, 2012
Watched by almost a billion viewers across all five continents, the 2012 Olympic ceremonies were, for a few hours, the focal point of the world. As is the case for most high-profile media events, the world elite’s messages, symbols and agenda were part of the show. We’ll look at the occult symbolism of the opening and closing ceremonies of the 2012 London Olympics.
Olympic ceremonies are often among the most watched TV events on the planet. They are an exceptional chance for the host countries to showcase their greatness through a grandiose, elaborate and massive show. The 2012 London Olympics were no exception as England’s history, culture and accomplishments were thoroughly celebrated and applauded. Some moments were grand, others were funny; some were dark and even disturbing. Other moments were highly symbolic, reflecting the agenda of the occult elite. Given that London is one of the power capitals of the world, it would have been more surprising if the symbolism and philosophy of the global elite had not been infused throughout the ceremonies.
Of course, not everything was symbolic in that sense and not everything was in-your-face, but over the course of the several hours that the ceremonies lasted, a good deal of symbolism was communicated to billion of viewers around the world. Let’s look at the most symbolic moments of the 2012 London Olympics.
The ceremonies were designed and coordinated by Danny Boyle, director of the movies Trainspotting and Slumdog Millionaire. Entitled Isles of Wonder, the opening ceremony focused on the history of England and the actors that influenced it. The journey began in ancient and mythical England then traveled through the industrial revolution, ending in modern times. The story was told using specific symbols and references that recall the occult side of Great Britain.
Green and Pleasant Land
The show begins in pastoral England, complete with farmers and cricket players. There are also many symbols alluding to its ancient mystical lore. The focal point of the show is a hill that is said to have magical properties: Glastonbury Tor.
The mythical spirally hill named Glastonbury Tor overlooks pastoral England. This recreation of the Tor is topped by a giant oak tree, a tree considered sacred by Celtic Druids and representative of the Supreme Deity.
Glastonbury Tor is one of the oldest sacred sites in England. Believed to be at the intersection of powerful ley lines, the Tor is related to many mystical stories and legends. For instance, it is thought to be Avalon from the legend of King Arthur and his 12 knights, a story that is esoterically associated with the sun and the twelve signs of the zodiac. Another legend claims that Joseph of Arimathea, the great uncle of Jesus Christ who was a tin merchant, brought young Jesus on a trip to Glastonbury. He later came back to the site and threw the chalice used by Jesus during the last supper (the fabled Holy Grail) in Chalice Well – an area of Glastonbury said to have magical powers. Archeologists have also discovered that the construction of the Gastonbury abbey involved sacred geometry “known by the builders of Egyptian pyramids” and passed down through societies of stonemasons (the originators of modern Freemasonry).
The “real” Glastonbury Tor, topped by St. Michael’s Church. The hill is the site of Christian pilgrimages and seasonal rituals practiced by ritual magicians, witches, pagans, and of various occult and spiritual festivals.
The presence of Glastonbury Tor in the Olympic stadium provides a definitively mystical and esoteric undertone to the opening ceremonies.
While countrymen work the land and run around maypoles (which incidentally bear a cosmic and phallic occult meaning), a young boy in the crowd stands up and sings part of a classical English hymn, William Blake’s Jerusalem.
William Blake is often described as a “visionary” whose artistic works were heavily inspired by Druidism, Gnosticism and Freemasonry (his depiction of the “Grand Geometrician” holding a Masonic compass is above the Rockefeller Center in New York). While some of his creations had Christian connotations, they were often told from a Gnostic and esoteric point of view. Jerusalem refers to the apocryphal story described above of Jesus visiting the “green and pleasant land” of Glastonbury with his great-uncle, Joseph of Arimathea.
And did those feet in ancient timeWalk upon England’s mountains green?And was the holy Lamb of GodOn England’s pleasant pastures seen?And did the Countenance DivineShine forth upon our clouded hills?And was Jerusalem builded hereAmong these dark Satanic Mills?The poem asks if Jesus walked in England and founded New Jerusalem (as described in Revelation) among these “dark Satanic Mills”. This enigmatic expression is said to refer to England’s industrial revolution and the dark buildings that came with it.Coincidentally, the next part of the opening ceremonies describe just that: The construction of “dark Satanic Mills”..
The Industrial Revolution
After the singing of the hymns, men in top hats, enter England’s Green and Pleasant land and bring about important change.
The men in top hats survey the land and shake each hands. This small elite group will coordinate the industrial revolution and get the masses to work.
The top-hat guys are lead by civil engineer Isambard Kingdom Brunel, who stands at the base of the Tor and give a speech quoting Shakespeare’s The Tempest. The oak tree then rises from the ground and hundreds of workers emerge from under the Tor and begin transforming England’s landscape.
At this point, there are a few facts that deserve to be pointed out. First, the legend of King Arthur stipulates that the top of the Tor provided entrance to Annwn, the ancient word for the Underworld. Second, the official name of the segment about the industrial revolution is Pandemonium, which is the name of the capital of Hell in Milton’s classical work Paradise Lost. These clues indicate that London did not become New Jerusalem (a metaphor for heaven) as stated by Blake’s hymn, but literally hell on earth. And all of this pandemonium was brought about by a handful of elite men who got thousands of workers apparently emerge from the underworld and build industrial England.
Peasants of the country worked in hellish conditions to bring to reality the elite’s vision.
It is now an established fact that the bringing down of monarchies and the push for industrial revolution during the 18th century was heavily influenced by Secret Societies such as the Grand Orient Freemasons and the Bavarian Illuminati, who called for an “unshackling of science” and a “new age of Reason”. The men in top hats coordinating the transformation can therefore be associated with the secretive groups that historically engendered a new economic, political and social system during the 18th Century.
The unfolding of “Pandemonium” is depicted using two very distinct groups: Elite “thinkers” who decide and oversee the project and “workers” who work in the field and take orders. All of this happens in the Olympic stadium, which is surrounded by giant triangles with illuminated capstones – a classic symbol representing an elite ruling above masses.
The final product of Pandemonium is one big messy grey mass full of “Satanic mills” and seven phallic chimneys spitting out smoke.
Leave the Kids Alone
The next important sequence of the ceremony paid tribute to the National Health Service (NHS) and Great Ormond Street Hospital (GOSH). The set combined sick kids on hospital beds with characters from English children’s literature and had a very strange and dark undertone from the start, when it began with the theme from The Exorcist, which is, in case you don’t know, a movie about a child possessed by the Devil. Odd choice.
The sequence begins with children on hospital beds who get put to sleep by nurses. Then J.K. Rowling appears and reads a quote from Peter Pan alluding to Neverland, which becomes real in the “two minutes before you go to sleep”. I couldn’t say if that was done on purpose, but many elements of this set, mostly the mix of vulnerable children in a hospital with fairy tales and the concept of blurring the lines between reality and fiction, are all associated with mind control programming. Like the Wizard of Oz and Alice of Wonderland, the story of Peter Pan is heavily used in mind control programming as victims are told to escape to “Neverland” while inducing dissociation from reality.
A child reading Peter Pan. On the page, we see a scary Captain Hook standing next to … a kid strapped to a bed? According to Franz Springmeier, Monarch programming uses a technique called “Peter Pan Programming”, in which Captain Hook represents the handler.
After J.K. Rowling’s appearance, hordes of ghouls and villains from English literature enter the stage, running after the children and scaring the crap out of them.
As if under the spell of this gigantic figure of Lord Voldemort, this young girl’s bed hovers high above the ground. Does this represent dissociation engendered by intense trauma?
While the evil characters run after the children, the nurses are completely immobile and powerless as if declaring “Health workers can do nothing when the elite’s mind control is happening behind closed doors”.
Luckily, a whole bunch of Mary Poppins fly down and shoo away the scary characters. Then, a rather creepy giant baby appears on stage.
Is it just me or does the giant baby have a big “separation” on the forehead?
The odd combination of children in a hospital and fairy tales might have been a clever way to combine two important aspects of British culture. It can also be a sick way of referring to Monarch mind control. On that note, let’s bring out Mr. Bean!
Abide With Me
Right before the Parade of Nations, the ceremony presented a dark segment that confused and disturbed more than a few viewers. Supposedly dedicated to victims of the 7/7 London Bombings, it had the feel of a dark ritual. Also, once again, we see an innocent child being preyed upon by dark forces. Despite the fact that the Christian hymn Abide With Me was playing in the background, the performance had an eerie feel, as if we were witnessing some kind of occult child sacrifice.
The set begins with a group of performers feverishly dancing under a giant orange ball resembling the sun orb. Then a young boy appears, looking somewhat lost and confused. One of the dancers approach the boy and looks to take something precious from him.
The dancer takes from the young boy an imaginary ball, which can represent his life force or maybe his soul.
Once the dancer takes the child’s soul, he taunts him with it and takes it away from him. The boy attempts to take it back but it is no use, he cannot do it. Apparently drained and resigned, the boy embraces the dancer who stole his soul.
The boy hugs the man who preyed on him and is ultimately integrated into the “dark side”.
At the end of the set, the child is at the center of the dancers and raises his hands in the air as if saying “I am reborn with the dark side”. On that creepy, disturbing note, let’s bring out the athletes!
Nations and Flames
As it is always the case, the Parade of Nations is done in a very orderly manner, with each country entering the stadium separately, in alphabetical order (we’ll see how it contrasts with the closing ceremony). Each flag was then placed at the feet of the Tor and the magical oak tree.
Once that was accomplished, the ceremony then focused on the almighty torch and the “fire that never dies”. The occult symbolism behind the torch bearer carrying the Olympic flame was discussed in my article London 2012: The Olympic torch relay and Prometheus so I won’t dwell on that aspect, though it is very significant.
The show ended with the lighting of the Olympic cauldron which was composed of petals representing each nation present during the Olympics.
Viewed from above, the Olympic Stadium resembled a gigantic eye whose pupil was being lit.
Combined with the ever-present pyramidal structures around the Stadium, the the event became one big tribute to the Illuminati elite. Two weeks later, the closing ceremony took the Illuminati symbolism to another level.
The Closing Ceremony
Contrary to the opening ceremony that reflected on the past, the closing ceremony looked towards the future … as envisioned by the elite. Not unlike the opening ceremony, it featured a whole lot of British music and I am pretty sure that record companies paid top dollar to have their artists perform on this unique world stage. I’ll skip the music performances and focus on the core message of the closing ceremony: Celebrating the Illuminati’s New World Order.
Contrarily to the opening ceremony, the closing ceremony was all about nations blending together into one giant global community – one of the goals of the New World Order. While, at the beginning of the games, athletes entered the stadium behind their national flag and a banner bearing the name of their countries, all of that was gone at closing ceremony. Everyone was mixed together.
We then witnessed a weird segment.
Performers used blocks to build a pyramid at the center of the stage…and began literally revering it.
“We all lay down before the almighty Illuminati pyramid”. This Illuminati blatant-ness lasted several odd minutes.
Musical performances began with a specific song, John Lennon’s Imagine, and a specific verse from it – which was considered, by some observers, to be somewhat out of place in the context of the Olympic ceremony.
As if to emphasize the words said in that verse, John Lennon was shown singing it.
Imagine there’s no countries It isn’t hard to do Nothing to kill or die for And no religion too Imagine all the people living life in peace
You, you may say I’m a dreamer, but I’m not the only one I hope some day you’ll join us And the world will be as one
Imagine no possessions I wonder if you can No need for greed or hunger A brotherhood of man Imagine all the people sharing all the world
Under the cauldron representing all countries joined together “as one”, young children sing Imagine.
In the context of the Olympics, where people come from all countries and all religions, this verse was a little out of place. More importantly, no countries, no religions, no possessions and “a world as one” is a good way to describe the global socialist system the elite is trying to create with the New World Order. Was Lennon envisioning a secretive group of politicians and bankers creating his perfect world? Probably not. But when you get killed by a MK-Ultra patsy, the elite can pretty do what it wants with your work and image.
Let’s Worship the Fire for, Like, a Half an Hour
After a bunch of performances (featuring a whole lot of Jessie J for some reason), the ceremony heavily focused on the Olympic cauldron. Before it is extinguished, it slightly opens up and a fiery phoenix appears above it.
As if emerging from the fire produced by the petals (representing Nations of the world), a phoenix appears above the cauldron.
The symbol of the phoenix, the bird that is reborn from its ashes, is extremely important to occult secret societies and, consequently, to the occult elite.
“The phoenix is the most celebrated of all the symbolic creatures fabricated by the ancient Mysteries for the purpose of concealing the great truths of esoteric philosophy. (…) Mediæval Hermetists regarded the phoenix as a symbol of the accomplishment of alchemical transmutation, a process equivalent to human regeneration. The name phoenix was also given to one of the secret alchemical formula. (…) In the Mysteries it was customary to refer to initiates as phoenixes or men who had been born again, for just as physical birth gives man consciousness in the physical world, so the neophyte, after nine degrees in the womb of the Mysteries, was born into a consciousness of the Spiritual world. This is the mystery of initiation to which Christ referred when he said, “Except a man be born again, he cannot see the kingdom of God” (John iii. 3). The phoenix is a fitting symbol of this spiritual truth.” – Manly P. Hall, Secret Teachings of All Ages
While the phoenix represents spiritual rebirth on an individual level, it can also represent the rebirth of the entire world from its ashes – as a New World Order.
This gigantic mural situated inside the UN’s Security Council Chamber in New York features a phoenix rising from a world in ashes.
Right after the apparition of the phoenix above the Olympic cauldron, the boy band Take That performed a song with a rather symbolic title, considering the context: Rule The World.
With a phoenix rising above all nations as a backdrop, Take That sings “Rule the World”. This is getting pretty blatant.
After the song, a bunch of ballet dancers dressed as phoenixes hopped around, as if revering and giving tribute to the fiery bird above them.
Praising the phoenix in a ritualistic and celebratory manner.
At midnight, the Olympic cauldron and the petals representing each country are slowly extinguished, but the phoenix, representing the occult elite and the New World Order, stays lit above it. In other words, as the nations of the world slowly disappear, a New World Order will emerge. On that note, let’s listen to The Who!
Olympic Ceremonies traditionally showcase the host Nation’s history and culture, but also celebrates those behind the games: the occult elite. Since London is a power capital of the world with a rich occult history ranging from the Knight Templars to influential Masonic lodges, and not forgetting prominent occultists advising the royals such as John Dee and Sir Francis Bacon, is it surprising to see this aspect of History being referred to in a symbolic matter?
While obviously not everything during Olympic ceremonies related to Illuminati symbolism, there were plenty of elements inserted throughout to get the message across. In the end, the Olympic games, like many other media events, turned into a worldwide mega ritual celebrating the goals and the symbolism of the world elite. On that note, let’s bring out the Spice Girls!
London is getting ready for the 2012 Summer Olympics and the Olympic torch relay will begin on May 18th 2012. This ceremonial event, where people from all walks of life carry the Olympic torch across the host country, is particularly symbolic to those who began this Olympic traditions.
In Greek mythology, the original “torch-bearer” was Prometheus, the Titan who stole fire from the gods in order to give it to humanity. Fire was considered by ancients as being a tiny spark of the sun, which was considered to be the physical manifestation of deity (see Sun Worship). By bringing fire to mankind, Prometheus has therefore enabled humans to partake in “all things divine” and even allowed them to aspire to become gods themselves. For this reason, Prometheus is particularly revered in secret societies, as his myth is the ultimate representation of the philosophy and the goals of mystery schools: ascension towards divinity and immortality through man’s own means.
In esoteric teachings, the act of “carrying the torch” is symbolic of man’s awareness of his own “divine spark” and represents his aspiration to become “one of the gods”. This is, in a nutshell, the core philosophy of the world’s elite, which is heavily influenced by the hermetic teachings of Freemasonry, Rosicrucianism and Illuminism. For this reason, Prometheus’ Torch of Illumination is often found in the occult elite’s symbolism.
The myth of Prometheus is, in many ways, similar to the myth of Lucifer – whose name is Latin for “Light Bearer”. Since Lucifer fell from Heaven to the earthly realm – bringing with him “the light of Illumination” – he is considered in occult schools to be the Bringer of Light, of the Morning Star, of intellectualism and of enlightenment.
Since the Torch of Enlightenment is the main symbol representing the elite’s philosophy, is it surprising to find it prominently featured in a ritual opening the world’s grandest sporting event?
In the Olympics
The first relaying of the Olympic torch was held at the 1936 Berlin Olympics, during the Nazi Regime. Despite the fact that Hitler banned Masonic organizations from Germany (he identified them as servants of the Jews), his regime was nevertheless inspired and deeply steeped in by secret societies. He had a great respect for the symbolism and the constitution of secret societies.
“All the supposed abominations, the skeletons and death’s heads, the coffins and the mysteries, are mere bogeys for children. But there is one dangerous element and that is the element I have copied from them. They form a sort of priestly nobility. They have developed an esoteric doctrine not merely formulated, but imparted through the symbols and mysteries in degrees of initiation. The hierarchical organization and the initiation through symbolic rites, that is to say, without bothering the brain but by working on the imagination through magic and the symbols of a cult, all this has a dangerous element, and the element I have taken over. Don’t you see that our party must be of this character…? An Order, that is what it has to be — an Order, the hierarchial Order of a secular priesthood… Ourselves or the Freemasons or the Church — there is room for one of the three and no more… We are the strongest of the three and shall get rid of the other two.” – Hermann Rauschning, “Hitler Speaks”
The Nazi Party was heavily influenced by Germanic mysticism. Several members of the Party were part of the Thule Society – an occult secret society based in Munich. Despite its outward differences with other secret societies such as Freemasonry, in the end of the day, when all is said and done, all of the inner-most teachings of these society are pretty much the same.
Since “occult minds think alike” the torch relay became part of the Olympic tradition. So, every two years, entire countries gather and celebrate the passing of Prometheus torch, which can only be lit by the ultimate source: the sun – symbol of the deity.
Since most people who assist to these torch relays – including the torch carriers themsevles- know nothing about the occult meaning of the event, the carrying of the Olympic torch remains a stunning example of the elite’s rituals and philosophy being celebrated in front of a dumbfounded crowd. Clapping for and cheering their local light-bearing Lucifer, the masses celebrate, once again, the extent of their own ignorance.
Other Illuminati symbolism in the 2012 Olympics:
Here’s a recent BBC article celebrating the torch relay and describing some of its history:
London 2012: What is the Olympic torch relay?
“It is an utterly thrilling thing to do,” says Philip Barker.
The Olympic historian and author has a lump in the throat just at the memory of running, torch clasped in his hand, high in the Taygetos mountains above Sparta, Greece.
He was a part of the torch relay, the human-powered running feat that bore the flame on its journey from its source, Olympia, to the Atlanta Games in 1996.
From 18 May 2012 the Olympic torch relay will tour the UK in the run up to the London Games – taking 70 days, with about 8,000 torchbearers.
Organisers say 95% of the country’s population should be within one hour of the route which will end with the lighting of the cauldron during the opening ceremony in the Olympic stadium, Stratford.
They hope that the emotion felt by Philip Barker will be shared by the nation and among crowds lining the route.
But how did the Olympic Games come to have this almost cultish following of a naked flame?
The perception of the torch relay is that it’s a contemporary re-enactment of an ancient Greek tradition.
In reality, it is a phenomenon just of the modern Olympics, only beginning in the 1936 Summer Games in Berlin, and for the Winter Games at Oslo in 1952.
But the idea is rooted in a mash-up of Greek myths, thought to date from around the 6th-5th centuries BC.
The stories concern Prometheus. He was a Titan and “friend to man” who stole fire, a sacred element, disguised inside a narthex stalk (a kind of giant fennel) from Zeus, the father of the Gods, and gave it to mortals.
The ancient Greeks had Lampadedromia – torch relay races – where the winning team lit a sacred flame, possibly as part of the cult worship of Prometheus and his defiance of the gods to impart knowledge to mortals. The modern relay has a nod to the flame-kindling vestal virgins from the rival Roman civilisation thrown in.
It also conjures the spirit of the “sacred truce”, a peace declared across ancient Greece in the months before an Olympic Games and communicated by runners who travelled the country.
As University of Oxford classicist Cressida Ryan puts it: “It’s an amalgam of bits of mythology.
“Agreeing on the facts doesn’t really matter, it’s too long ago to know. Today it is used as a force for good – someone has taken an idea and run with it.”
An Olympic flame first burned at the Amsterdam Games, 1928, but it was not until 1936 that a relay with a torch took shape, under the Nazi regime and sports organiser Carl Diem.
A flame was kindled in Olympia using the sun and a parabolic mirror, then carried to the Berlin stadium by runners through Bulgaria, Yugoslavia, Hungary, Austria and Czechoslovakia – countries that later would fall under Nazi domination.
Fire was a symbol of Hitler’s regime, and torchlight processions were a feature. The leadership aimed to draw a direct link back to ancient civilisation. As Ryan explains: “They wanted a symbolic bridge between ancient Greece and modern Germany. And light is a symbol of purity – the bright, white, pure, stunning light of the ancient Greeks was something that fed into the Aryan myth.”
Adolf Hitler’s favoured filmmaker Leni Riefenstahl captured that myth, documenting the event for her 1938 film Olympia.
Post-war, for the 1948 London Olympics, organisers embraced the idea of the torch relay. Despite the austere times, the torch was mobbed by crowds along the route.
Since then, the torch has enjoyed a mostly high old time, every four, and latterly two, years, changing design with each Olympic host city and each decade’s trends.
The relay has sometimes gone with a theme – Rome 1960: The Ancient Relay; Mexico City ’68: The Relay to the New World; Seoul ’88: Harmony and Progress.
The modes of transportation have become ever-more outlandish – on skis, Oslo 1952; Skidoo, Calgary ’88; and ski-jumper, Lillehammer ’94.
The torch has taken to the water with swimmers, in Veracruz, Mexico, ’68 and in Marseilles, France for Grenoble ’68 as well as underwater at the Great Barrier Reef for Sydney 2000.
It has taken to the skies – on Concorde, Albertville ’92; via satellite, Montreal ’76; parachute, Lillehammer ’94. And the torch, without flame, has been into space, twice, ahead of Atlanta ’96 and Sydney 2000.
Canoes, steamboats, wagons, horses, camels and many sportspeople and celebrities have also played their part.
It has also drawn protest, most prominently from pro-Tibet and human rights campaigners in many countries when it was flanked by Chinese bodyguards in its round-the-world-tour ahead of Beijing 2008.
And until at least the 1950s, it was rather a sexist torch – no women were allowed to take part.
The flame is sometimes accidentally extinguished en route, apparently “more often than they like to let on,” says Barker.
In case of such an event, it can be re-lit with special back-up flames from Olympia carried with the relay, often in miners’-style lamps.
Should a cloudy day threaten the initial ceremony when women kindle the flame from the Sun at Olympia, there are also a series of flames kept in reserve from the “practice kindles” in the days leading up to the televised event. The torch has been used to light the cauldron by sporting legends like Muhammad Ali, by athlete Li Ning suspended on wires, by paralympic archer Antonio Rebollo and as fire amid water by runner Cathy Freeman.
It is all part of the facade that Olympic-minded historians say stokes enthusiasm for a positive sporting event, often among people who cannot be at the Games themselves.
The founder of the modern Olympic movement, Pierre de Coubertin hoped the Olympic torch would “pursue its way through ages, increasing friendly understanding among nations, for the good of a humanity always more enthusiastic, more courageous and more pure.”
Thirty Olympiads on, for carriers like Barker, that symbolism is key.
“When it is your turn to carry the flame, you think emotional thoughts, think of people who have competed in the Olympics, Jesse Owens, great heroes like Steve Redgrave,” he says.
“You feel part of that because you’re helping take the flame to the stadium. It was extremely special, very emotional.”
The ancient Greeks opened their Olympics by word of mouth, sending heralds, not torchbearers, through the streets. Hitler introduced the torchbearer Greek myth at the Berlin Olympics in 1938. Hitler had the support of big banksters – one mightn’t be surprised if it was revealed that the London Olympics was bought and paid for by the Rothchilds.