Saturday, May 05, 2012

Part 15 - 2012 London Olympics - The Cultural Olympiad - It Worked for Hitler

When we understand the Olympics as a religion of Olympism, as the founder Baron Pierre de Coubertin insisted and as it remains today, then we can understand why there is a Cultural Olympiad, why the athletic competitions are wrapped as in a garment of the arts. The competition and the arts are both expressions of worship, and in this context, it is of course the worship of Zeus as from ancient times. True to it's intent, this is why the Cultural Olympiad appears as a lightly cloaked series of enchantments and Satanic rituals to those of us with eyes that see.

The appearance in this promotional set of images of the familiar five pointed star inscribed within a circle makes a clear statement, linking the London 2012 Festival with the star formed by artists and Olympic rings, the essential pentagram of witchcraft.

The worship of Satan in the guise of Zeus or as any other god is not a futile exercise. Russ Dizdar of is doing a commendable work of exposing what an impact this activity has today on the world, largely from the angle of SRA DID and the programming of super-soldier agents. The undeniable reality of this evil influence can be seen in what the Vigilant Citizen presents on his blog. The worship of Zeus is a big deal, historically and today, and it factors into the soon revealing of the Beast of Revelation 13 and the dynamic supporting that event. Although plenty of Satanic ritual happens in private settings, the argument can easily be made that the majority of ritual Satanic worship happens in full view of the public, right before our faces! This is the testimony of most everything I've been blogging about, pitching in with the likes of the Vigilant Citizen and Texe Marrs.

This activity in the public domain nearly always involves the arts and spans the broad spectrum of media. Artists are inspired, and not usually by the holy spirit. Artists of great influence seem invariably to dismiss the second commandment, which forbids the reproduction of things in heaven and earth that may be worshiped. They follow according to the teaching of the secrets of heaven by the Watchers who fell to the earth in the days of Noah, much of which either remains or has been reintroduced. The role played by the arts is to inspire men to rebel against the God of Heaven and worship a lesser god. The worship of a rebel god is the goal of Olympism supported by the Cultural Olympiad.

For a stunning example of just how effective this kind of mass promotion of the arts really is we can reflect back upon Nazi Germany. You may be surprised to discover that the role played by the arts in the rise of Hitler and the Nazi Party has been hugely downplayed. Hitler assigned pageantry and aesthetics a role many felt was insanely excessive. Hitler knew the value of this subtle business of controlling a culture, promoting regional culture in the weaving of his web of deceit. He knew because he was inspired by his god. Hitler functioned as a sorcerer and high priest, and it must be seen that he knew well the tools of the trade.

“Yes, this government - half of which consists of men who once aspired to serve the arts - is conscious of the artist's role as an intermediary. This government, born out of the opposition to rationalism, knows the people's inner longings, their boundless dreams, to which only the artist can give form.”

Hans Friedrich Blunck - author and president of the Reich's Chamber of Literature

I watched a documentary on Netflix recently that does an excellent job illustrating the pageantry of the Nazi Party and how incredibly devoted Hitler was to the arts and aesthetics: The Architecture of Doom (See also The Artist of Doom, probably inspired by the documentary. Also CULTURE IN THE THIRD REICH: DISSEMINATING THE NAZI WORLDVIEW)

There seems to have been an endless array of colorful parades, rallys and exhibitions. Hitler and many high ranking officials of the Nazi Party were notably moved by the opera of Wagner and the vivid imagery of the film Metropolis. Hitler used his power to compile a vast art collection and personally drew up plans for the buildings of a city on a vast scale. At some point you have to conclude that this zeal wasn't a reflection of his personal character so much as who he was as an antichrist, as one ordained to fulfill a Satanic objective.

After ascending to the seat of political power at the end of January in 1933, he worked to control every aspect of public life. In September, the Reichskulturkammer (Reich Culture Chamber) was established with Joseph Goebbels (Reich Minister for Public Enlightenment and Propaganda) as its head. Subchambers representing the individual arts encompassed music, film, literature, architecture, and the visual arts. These Subchambers were membership groups that assured full control over cultural expression, excluding the participation and work of anyone not "racially pure" and in support of the Nazi Party and its ideals.

Control the arts and you control the hearts, and minds. Hitler got it.

The Roman Catholic Church today displays the aesthetic of Rome that Hitler held in highest esteem. The Romish priesthood understands about the powerful enchantments of the aesthetics promoting Satanic worship. It is magickal and it is powerfully influential. This is why there's such an emphasis on the Cultural Olympiad, which, given the current economic realities of those upon whose shoulders the burden comes, the scale of which is beyond a reasonable explanation dismissing it as anything other than serving some high purpose.

What is it that high purpose of all this activity? Is it for the sake of national pride, to serve as a pep rally to boost the morale of the UK? If you can interpret any of the symbols, you have to dismiss that notion as one that is more acceptable to the enchanted public but that falls short of expressing the higher goal of Olympism, which is to bring the nations thronging to the temple of Zeus as fully engaged and devoted worshipers.

Pageantry and games. Was Madonna's half-time show at the recent Super Bowl, merely for entertainment, or was it the mass Satanic ritual many perceived? What is the famous annual Tournament of Roses Parade that marks the pivot of the pagan solar calendar if not a grand ritual engaging the masses in a cultural celebration of the rose, the emblem under which occultists are exalted as the hidden thorns of Genesis 3? This is now associated with the Rose Bowl, a football game, but at one time there were chariot races involved. That exhibition of pomp and pageantry is held in Pasadena, CA. about 11 miles from Hollywood, a film and pornography industry center of global occultism. Holly wood is what magic wands are made of. They know art captures the heart. Is the attraction of pagans to celebrate the famously debauched pre-Lenten parading of Mardi Gras and the Carnival in Rio de Janeiro and New Orleans for nothing? Is the Queen's upcoming Jubilee celebration of 60 years as a Monarch going to be something completely different from the pomp of Hitler's 50th birthday parade in 1939?

The IOC knows well how to wield this tool, playing the arts as control mechanism to maximum effect. This is what the Cultural Olympiad is about. This year, the scale of Satanic ritual is immense! If the only thing accomplished by it is an increase of power and influential control, it is enough. If you understand what Russ Dizdar has been testifying about and grasp the significance of the Cultural Olympiad, you are probably going to be watching very closely what happens around the Olympics this summer. Lord willing, I will be.

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