Olympic Ceremony Symbolism - Part Three
In this third part in the series of studies exposing the meaning of signs presented during the closing ceremonies of the Beijing Olympics, I am focusing as before on the London presentation. In Part Two, the performance of the song "Whole Lotta Love" atop the crimson bus was the subject. The extended version of the video of the ceremonies presents the scene that actually preceded the "Whole Lotta Love" scene. That opening scene is the subject of this writing, Part Three of the series. If you haven't yet read Part Two, I recommend doing so before you read this one.
The official video feeds provided by NBC from their web site are long gone. This is the best substitute I've seen yet. The actual London Ceremony begins about 1:20 in.
The action of the opening vignette is very simple. A bus arrives at the bus stop. A girl gets off, gets a soccer ball from another little girl and gets back on the bus with the ball. Superficially, there's not much to it, yet, it's enormously rich, carefully crafted with layers of symbolic meaning! I'm going to continue using the same methods used in Part Two to discover the meaning of the actions, the characters, the props and the soundtrack. When what is found in this opening scene is considered alongside the "Love" scene, many of the symbols and themes are recurring, which validates the meaning through redundancy. These multiple testimonies come to us as from independent witnesses. These are woven together into a multilayered, cohesive, timely and very sobering series of messages.
This first act in the diabolical drama highlights the arrival of the messianic pretender and declares his methods, activities and purpose. This theatrical presentation from the dragon's lair continues the mocking and taunting, the threatening, flaunting of lies and boasting of control and domination. We are being dangled by the heartstrings of our love for selfish entertainment as we have been dangled by our purse strings in September's and October's economic manipulations. These signs should speak to you that, though the dragon has been granted his day, his boss has appointed it for His own purposes. He loves you and I! He wants us to know what's going on. We NEED to know what's going on!
Here are highlights of the first act. What begins here continues into the next part due to the breadth and depth of the message.
- Presents mark of the beast through crosswalk as barcode (Revelation 13:16-17)
- Is spiked with an ad - the official "presentation layer" emphasizes barcode
- Is tagged with a double 13 (Lord Beast) in the official "presentation layer"
- Presents Messiah in historical reenactment of pre-baptism scene (John 18:4-6)
- Presents anti-Messiah in pre-baptism scene counterfeiting the historical
- Presents the baptism of the Messiah - a historical reenactment of Mark 1:9-11
- Presents the counter baptism of the anti-Messiah - today's version (2 Thessalonians 2:3-4)
- Album covers referenced picture exactly who is appointed for the lake of fire
- Presents a twisted nativity scene - Messianic announcement and welcome for the counterfeit
- Is set to music of a style connected to Satanism, Greek gods and combat training
- Features a construction that bridges heaven and earth and from which angels have fought (Judges 5:20)
- Reveals connections to one of the most influential songs of our time that is an occult discipleship device
- Models specific Millennial Kingdom activity (Revelation 21:23-26)
- Points to Bill Clinton as representative of antichrist, twice
- * Covered in Part Seven, this opening vignette also presents the coming anti-Flood and ark of Noah the eighth
- * Covered in Part Eight, the crosswalk allusion to DNA barcoding further connects the beast and his mark with the Nephilim gateway and bioengineering agendas
I'm going to begin by addressing a symbol found in the setting of the scene that has meaning in both the opening vignette and the main scene of the London presentation, the ubiquitous crosswalk!
The "Barcode" Crosswalk as the Mark of the Beast!
In the bus stop setting there are two visual elements that really stand out; the bus and the crosswalk. The crosswalk pavement marking is of the type known in the UK as a Zebra crossing. Other elements common to a bus stop setting are also in view: A bus stop sign, a Belisha beacon (which is the flashing orange globe on a striped pole), a crossing guard (colloquially, a lollipop lady) with a crossing sign. It all seems rather benign until you noticed that the pavement marking that is such a striking visual element resembles the ubiquitous barcode!
As in Part Two, the red bus represents the scarlet beast of Revelation 13:1 and 17:3. We have thus far in this exposé seen an incredibly clever and masterful weaving of themes into the production by those who crafted it. In their extremely detailed presentation of the beast, could they have neglected the very mark of the beast? No way! The mark is in the pavement marking, the crosswalk!
16 And he causes all, the small and the great, and the rich and the poor, and the free men and the slaves, to be given a mark on their right hand or on their forehead, 17 and he provides that no one will be able to buy or to sell, except the one who has the mark, either the name of the beast or the number of his name.
If you haven't yet related the two, the barcode has been associated with the mark of the beast since around the time it was first brought to the public's attention about three and a half decades ago. Some don't recall this connection, and some deny it, but I was around then and I remember. Really, if there is no connection, what's this element doing in this meticulously crafted sign? We've seen the beast presented very evidently so we should expect the mark of the beast to be hidden nearby, disguised but not unrecognizable.
The most familiar implementation of the barcode is still seen at the checkout stand, facilitating buying and selling. When "no one will be able to buy or to sell, except the one who has the mark," it doesn't take much imagination to see the potential here. Back before the advent of the implantable microchip, the barcode (along with the tattoo) was a technology considered likely to fulfill the infamous prophecy.
Consider the street as a border dividing two sides of the street, two lands or regions. A crosswalk is the way to get from one side to the other; a border crossing. It's in the practical context of a border crossing that we benefit from identifying the crosswalk as a barcode. The matter of border crossing is very important. When borders are sealed, those inside are trapped, and those outside cannot get in.
For the purpose of exercising control over passage, the low-tech "show me your papers" routine has been in place for many years, but, today, the matter of identifying who is crossing and when has become very high tech. At international borders, airports and transit hubs, various kinds of cards are sometimes scanned, cameras track and record and even facial recognition software may be in use to facilitate control. The implantable microchip or RFID tag is the way of the future. The barcode Zebra crossing marking is a symbol of a machine readable id tag used to identify and track the movement of individuals.
The barcode is the technology used for inventory control. A transition is being made towards the RFID chip. Don't get tagged as inventory! When everyone's activity is monitored, those who monitor can manipulate and control those who are monitored. That's the point. The crosswalk sign speaks of the subjection of man through implementation of the mark of the beast!
The gut level message inherent in this symbol has been covertly broadcasted to the world: "You're being screwed, and we gotcha!"
Yet, that's not all there is to this barcode sign of the mark of the beast! Beginning in 2003, when a universal identification system employing short DNA sequences as identifiers for animal and plant species was proposed, barcode technology has become strongly associated with the effort. By reason of the crosswalk and what happens there (as I show in the following section), our attention is directed to search out the implications of these "DNA barcodes," as they have become known. This is explored in Part Eight, where the crosswalk allusion to DNA barcoding further connects the beast and his mark with the Nephilim gateway and bioengineering agendas.
Baptism at the Bus Stop
The scene acted out at the bus stop happens very quickly. The bus comes to a stop and a girl gets off, 9-year-old Tayyiba Dudhwala. She walks over to the crosswalk and is handed a soccer ball by another girl, Erika Tham. Then, she gets back on the bus. Superficially this represents the passing of the summer games from Beijing to London. It's one in a series of hand offs. The political dignitaries passed flags, the little girls pass a soccer ball. It seems so cute and innocent but, oh, there's so much more to it than that! This is the scene that begins at thirteen minutes thirteen seconds into the Part II video clip (see side bar), a feature that signals to us, "here is a "Lord Beast" sign worthy of special attention"! The simple act of the girl from the UK receiving the ball represents the baptism and anointing of the lawless one, the Lord Beast!
I'm going to walk you through the video. I recommend opening the video in another browser window for viewing and pausing so you can track what I'm describing. Some of the most essential visual imagery is represented here with a sampling of screen shots from the official video. We are going to identify and interpret the symbolic elements along the way, the girls, the soccer ball, the Londoners, etc. Here's how the drama unfolds.
Strong Reaction to the Presentation
of the Messiah for Baptism
A crowd has gathered at the bus stop, some, rather anxiously awaiting the arrival of the crimson double-decker. The background music lends the scene a distinctive carnival atmosphere. These performers are the "Londoners," attired in street clothes. When the bus comes to a stop, you might think they would board the bus, but, no. Their interest is elsewhere. They flock to the area of the bus door as a frenzied mob, moving in slow motion to magnify the drama of the action. Their performance illustrates a passionate desire through their exaggerated movements and facial expressions. The doors open suddenly and a 9 year old girl appears standing in the doorway. At this, the Londoners who had pressed themselves to the bus reel and fall back to the ground.
Is this how people act at bus stops in London? What's the meaning of this bizarre behavior? It has to do with who the girl represents and her current state and status. These common mortals at the bus stop are in the presence of a being of supernatural power and influence; a god, a savior, a messiah. They have just encountered a being of a very special nature in a state of readiness for a very special mission. Their reaction is appropriate and quite fitting for the truths being presented. In order to discern this properly we need to see both perspectives being modeled. On one hand, it's an historical reenactment, and on the other, a revelation of our present time.
The Presentation of the Messiah for Baptism - An Historical Reenactment
The historical event being modeled relates to the true messiah, the only begotten son of God. Tayyiba represents Jesus the Nazarene, who is in the garden of Gethsemane, betrayed and about to be taken into custody. The Londoners are the agitated mob who accompanies Judas, the betrayer, come to arrest Y'shua. Consider how Tayyiba's presentation at the door of the bus and the Londoners' response reenacts the following scene.
4 So Jesus, knowing all the things that were coming upon Him, went forth and said to them, "Whom do you seek?" 5 They answered Him, "Jesus the Nazarene." He said to them, "I am He." And Judas also, who was betraying Him, was standing with them. 6 So when He said to them, "I am He," they drew back and fell to the ground.
When the Nazarene presented Himself for arrest, the mob drew back and fell to the ground. The Nazarene identified himself, revealing His supernatural authority, and in that powerful expression no one could stand in His presence. He was in state of readiness for a very special mission. He was presenting Himself in a state of being they had never before seen, a prepared and willing vessel - and vulnerable.
You see, a transition had just occurred in the garden. where Jesus had been praying, asking, if it were possible, that a cup would pass from Him. It was His Father's will that the cup would be drunk, and the obedient son accepted. At that point, the process began where He would be led to his death on the cross and then be victoriously resurrected in new life!
It's necessary to recognize this process as a baptism. (See Baptism - The Prophecy) Baptism is a symbol of death and resurrection. The Nazarene referred to what he would experience after His arrest as a baptism in Mark chapter 10. The Messiah is presented for the baptism with which he must be baptized.
The Presentation of the Messiah for Baptism - Our Day
The girl who appears at the door of the bus represents the chosen one, which is modeled for us quite appropriately as Tayyiba Dudhwala was herself chosen by popular vote from among the contestants on the UK's most famous children's program. Her qualifications? She is characterized as "football crazy", and, in her response to why she was excited by the Olympic and Paralympic Games, "She wrote that different people from all over the world come together at the Olympics and she thought that was special." This qualification is a correct model of the chosen one, who worships at the popular altar the gods of "the game," and has the ecumenical spirit of the beast to unify the kingdoms of the world, the spirit of "Olympism."
Tayyiba specifically represents the eighth king of Revelation 17:11 in this presentation scene, the king that is one of the seven, the very beast which was and is not. She represents the lawless one who is about to be anointed and revealed!
As you consider the scene now with Tayyiba as the anti-Messiah, the peculiar reception at the bus stop signals us that the counterpart process has begun. The mob of Londoners are those who will worship the beast, those who dwell on the earth and are made drunk with the wine of the harlot's immorality (Revelation 17:2). They have come like frantic moths drawn to the light, to greet the messiah of their fervent hope and affections. When this messiah appears in their presence, ready, willing, the supernatural shock wave sends them reeling, falling back on the ground. This interpretation is immediately validated by the manner of their postures after falling back. The Londoners display their subjection and worship by presenting themselves to her for service in the same lewd manner seen during the presentation of "Whole Lotta Love." This messianic pretender has passed the crucial point of transition and is on the way to drink the cup, to "death and resurrection," the baptism with which (s)he must be baptized!
After the Londoners hold their "honor and subjection" poses for a few moments they scurry over to line up along one side of the crosswalk. They become enthusiastic witnesses at the main event, the reception of the dragon's seed.
Why are we being given this sign of the presentation of the anti-Messiah with the symbolism of an arrival on a bus? While it may seem odd, the implication is that this messiah will arrive in a UFO. The bus represents a heavenly vehicle, as it also represents variously a heavenly abode, altar and temple. Tayyiba and any other beings on board are of a divine nature. They are gods and kings of the earth, as noted in the "Whole Lotta Love" scenario in Part Two. These gods and kings of the earth have a history, one that's largely been scrubbed to cover their activity. What is coming is what has been before, at the time of the great flood. The gods with their busses will be recognized by some as the very same that were accountable for that flood, the subjects of Genesis 6:4 and Jude 1, etc. Keep in mind that this is the Olympics. The historic context has only ever been that of the presence and participation of the pantheon of gods. This is not merely hollow legend, despite what you've been taught in school. There is a supernatural reality behind it, as some of you know and others are about to learn. Does Tayyiba model an arrival and departure using a heavenly vehicle? It appears so. If a Messiah arrives in a heavenly vehicle, don't be surprised.
The Dragon Seed Baptism
The centerpiece object is a soccer ball that represents the dragon's seed. It's the symbol of the spirit of antichrist, the anti-anointing and anti-dove, the very seed nature of the dragon that will be passed along when baptism has been fulfilled and the new form of life comes to replace that which passes away in death. This is the object that is later "ejaculated" into the sea of humanity at the climax of the "Whole Lotta Love" scene. This dragon seed fertilizes the singular anti-Messiah host and also the many eggs in the dragon's lair model of the human female reproductive system. The soccer ball conception is a dragon seed baptism.
Now, let's look more closely at the soccer ball. Do you see black pentagons? The most commonly recognized symbol of the occult is the pentagram, a regular star pentagon. The symbol as used by Satanists and Neopagans such as Wiccans is usually inscribed within a circle, which is evident in the round soccer ball. Black is the color most commonly associated with the occult. The soccer ball is a great choice for a symbol of the dragon's seed! As it is the central object in what is indisputably the world's number one sport, it is a fitting picture! There is some further meaning associated with the pentagram that is very relevant, which I hope to address shortly, Lord willing.
The soccer ball activity begins in the street at the crosswalk. As earlier, the street divides one side from the other and the crosswalk is a border crossing. The actual borderline at the crosswalk marks the point of transition between two realms or seasons.
Now, we come to the pivotal event as a girl of Asian appearance walks nearly to the center of the crosswalk carrying the ball. The girl from the UK steps out of the bus, walking to the end of the crosswalk and towards the Asian girl. She approaches and stops a little short, acknowledging the border line. The Asian girl offers the ball to her and the UK girl reaches out and receives it. She holds it aloft as a prize of great value, showing it off to the assembled witnesses who applaud in celebration.
She then carries the precious prize to the bus without touching the ground. She is assisted by the crossing guard, who holds her hand, and five male Londoners. These offer their backs to her as steps, taking turns on their hands and knees to form a living viaduct extending from the center of the crosswalk to the entry of the bus.
The elevated means of transport after receiving the ball reflects a change of state or status. Receiving the dragon seed changed her, elevated her. She had walked off the bus and down the crosswalk on the earth with no accompaniment or fanfare, but, having received the precious seed she returned elevated above the earth in a heavenly plane.
The lollipop lady can be viewed as playing the role of an angel. As all angels are ministering spirits we see the crossing guard as the officiating angel, wielding the authority of the crossing sign. She ministers in the scene by controlling traffic at the border crossing. She ministers to the girl who receives the seed by holding her hand and escorting her all the way to the bus.
13 And unto which of the messengers said He ever, `Sit at My right hand, till I may make thine enemies thy footstool?' 14 are they not all spirits of service -- for ministration being sent forth because of those about to inherit salvation?
Hebrews 1:13-14 (YLT)
Here's the point of this activity. The scene presented modeled the following passage of scripture
3 Let no one in any way deceive you, for it will not come unless the apostasy comes first, and the man of lawlessness is revealed, the son of destruction, 4 who opposes and exalts himself above every so-called god or object of worship, so that he takes his seat in the temple of God, displaying himself as being God.
2 Thessalonians 2:3-4
This scene reveals the reason for the doubled thirteen marking the presentation layer! The main event is pictured in the girl receiving the ball and showing it off as the witnesses applaud. It is the baptism that reveals! She is the chosen one with evidence of bearing the dragon's seed!
The visual imagery of the scene I captured from the video (down and to the right, with the Mark 1:9 subtitling) harkens to the iconic cover of the Beatles's eleventh official album, "Abbey Road," an element that has a symbolic role in the scene. Although the image appears only for a moment, that moment is the pivot of the entire scene.
Y'shua's baptism will be counterfeited. If you haven't yet understood this, let this sign speak to you. Since most of the world rejects the genuine messiah, another will be presented and accepted by the world, deceived into thinking he is, in fact, the genuine. This counterfeit will come forth in like manner as the genuine, with a baptism and anointing of powerful authority. Each element of the genuine baptism will be counterfeited. To put this another way, for every part there is a counterpart.
The Abbey Road baptism scene must be viewed in the same way as the mob's response to Tayyiba's appearance, from two perspectives. It is both an historical reenactment and a revelation of our present time. The following passage presents the historical event being reenacted.
9 In those days Jesus came from Nazareth in Galilee and was baptized by John in the Jordan. 10 Immediately coming up out of the water, He saw the heavens opening, and the Spirit like a dove descending upon Him; 11 and a voice came out of the heavens: "You are My beloved Son, in You I am well-pleased."
The credits for the historical reenactment scene read like this: Tayyiba Dudhwala is Jesus who came from Nazareth in Galilee. The crossing guard is John the Baptist. The soccer ball is the Spirit like a dove, held by Erika Tham as the Heavenly Father. The stage set: The road and crosswalk is the Jordan River. The road divides heaven and earth. The crosswalk is the border crossing. The storyline: When the ball is presented by Erika, it is the opening of the heavens and the Dove appears. It descends upon Tayyiba. The appointed crossing guard officiates and witnesses. Simple. Precise. Incredible!
Consider the lollipop lady who, as the one officiating, represents the papal High Priest baptizer. HEY! Is that a "two horns like a lamb" mitre hairdo? Is that a papal lollipop scepter with the symbol of the CROSS-ing? Why, yes! Am I dreaming? Am I delusional, or is this a sign? Do you really see what you're looking at?
This is a concise snapshot of the revealing, the baptism and anointing! What is presented in very clear and accurate symbolic imagery is a scene I have described in detail in The Sign for the Bride. It is a truth very few people can accept or comprehend, yet, the signs confirming the veracity of the model continue to be paraded out from all quarters. Are we going to get the message?
The setting for this scene is brilliant! The road is none other than Abbey Road, a superb choice! It is the place where you would find one such as John the Baptist hanging out, because an abbey is a monastery, a place occupied by a community of persons living in seclusion under religious vows. What makes Abbey Road even more fitting is how it relates to the Jordan River. The name "Jordan" means "their descent." The Jordan River pictures the mortal life of man as a river that flows the long and winding path from the springs of birth to its end in the Dead sea. If there was one album in the history of the Beatles (indisputably the most iconic British band ever) that you would identify with "their descent" it would certainly have to be Abbey Road, their final studio album. Yes, Abbey Road is the Jordan River, and the iconic Zebra crossing is a proper setting for this scene!
It is beautiful symbolic imagery, but this presentation isn't a Salvation Army gospel street preaching crusade. It comes from the dragon's lair to present the anti-gospel! The unholy counterparts are in view and it is the lying promotion of the counterfeits we see acted out on this stage!
There is yet another element in the scene I must bring to your attention. The bus visible in the background is itself a very important symbol. I have presented the bus as a heavenly vehicle, a ufo. I've been educated about Heaven's Vehicles and the role they have played in the past, and have an expectation about the future. If you are one who still scoffs about angelic conveyance manifestations, perhaps what you see in the Abbey Road baptism will speak to you about why Aert De Gelder illustrated the setting of the event as he did in 1710. By the way, the bus actually has its headlights on during this scene, illuminating it like as in De Gelder's depiction! Coincidence? No. Should we expect the illuminating presence of a heavenly vehicle at the baptism? Why wouldn't we?
This Abbey Road baptism is the instance of transformation from prepared vessel to spirit filled host, a virgin's impregnation with the father's supernatural seed. It will be seen by some as a transition from an age of innocence to an age of enlightenment and empowerment, and celebrated as a coming-of-age.
The other elements evident in this modeling are from verse 4 of 2 Thessalonians 2.
3 Let no one in any way deceive you, for it will not come unless the apostasy comes first, and the man of lawlessness is revealed, the son of destruction, 4 who opposes and exalts himself above every so-called god or object of worship, so that he takes his seat in the temple of God, displaying himself as being God.
2 Thessalonians 2:3-4
The man of lawlessness exalting "himself above every so-called god or object of worship" is pictured by Tayyiba as she steps up on the backs of others and walks on them. When she has walked on them all the way to the bus, she boards, "so that he takes his seat in the temple of God." The bus here represents the temple of God, with St Paul's Cathedral among the iconic places represented in the encircling hedge.
As London, symbolic capital of the messianic United Kingdom, the London bus is the temple of god with its throne room, where the messianic king of the earth with the dragon's seed will take his appointed seat of authority. This heavenly vehicle in which he takes his seat is the throne vehicle where the man of lawlessness will display himself as God. Have you read Ezekiel 1 or 10 lately? The crimson double-decker symbolizes the throne vehicle that is the dragon's "knock-off" of the one described by Ezekiel. Isn't it ironic how the people of the red dragon symbol have recently become famous for their knock-offs, including vehicles?
A view of the lawless one's activity on the throne is presented through a parable in Acts 12.
21 On an appointed day Herod, having put on his royal apparel, took his seat on the rostrum and began delivering an address to them. 22 The people kept crying out, "The voice of a god and not of a man!"
My friends, we've been forewarned in so many ways. The Olympic signs tell us the time is at hand. Can you perceive it?
The Album Cover Equation
Let's consider the album covers referenced during the London presentation. The images of the artwork of these albums are involved in key messages and I perceive another message even in their combination! "Abbey Road" was the fleeting visual image used to mark the key transitional moment of baptism. Led Zeppelin's first album cover was the image used to put the exclamation point on the scene presenting the siren's seduction and mariner's destruction! The images from these album covers' artwork carry with them specific layers of meaning, and if we add them together the result is a composite image with composite meaning. Look at the images on the right. If we do the math and add "Abbey Road" to "Led Zeppelin I" we get "The "Barcode Gang" going down in flames."
The "Barcode Gang" is everybody involved with the mark of the beast. They are going down in flames, to their destruction in the lake of fire. The Barcode Gang consists of:
- worshipers of the beast
- the beast (lawless one)
- the false prophet Pope
- the devil
These are those who are specifically appointed to go the way of the Hindenburg - down in flames, according to the following passages.
9 Then another angel, a third one, followed them, saying with a loud voice, "If anyone worships the beast and his image, and receives a mark on his forehead or on his hand, 10 he also will drink of the wine of the wrath of God, which is mixed in full strength in the cup of His anger; and he will be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. 11 "And the smoke of their torment goes up forever and ever; they have no rest day and night, those who worship the beast and his image, and whoever receives the mark of his name."
20And the beast was seized, and with him the false prophet who performed the signs in his presence, by which he deceived those who had received the mark of the beast and those who worshiped his image; these two were thrown alive into the lake of fire which burns with brimstone. 21 And the rest were killed with the sword which came from the mouth of Him who sat on the horse, and all the birds were filled with their flesh.
And the devil who deceived them was thrown into the lake of fire and brimstone, where the beast and the false prophet are also; and they will be tormented day and night forever and ever.
Certainly, the devil would like to see this picture with the "Jordan River Gang" going down in flames, but that's not how the story is going to end. This view of the end of the Barcode Gang compares to another sign provided by the Heavenly Father, the sign my friend received when the teddy bear was discovered in the commode! The baptism in the commode compares to the unclean baptism in the bird's nest stadium. Just like how the waters of the great flood washed away the unclean offspring of the dragon in a baptism, the barcode gang pictured by Teddy will be flushed away! The sewage treatment plant (Acts 3:21) that will receive them is that lake of fire.
It's left to us to read the signs
We should ask at some point whether the thirteen thirteen marking this scene as a "Lord Beast" segment via the video presentation layer is really an important feature? Are those responsible for the presentation of Olympic signs really so interested in minute little details like time and numbers? Well, the Beijing Olympics did begin on 8/8/08. At 8:08. The event lasted 16 days, which is 8+8. It ended on 8/24/08, and 24 is, of course, 8+8+8. This London presentation is being referenced in so very many news stories and blogs as an eight minute presentation. I think, yes, they are very interested in such things. Why the number eight? One signification of "eight" is that of a new beginning. The message is being sent in no uncertain terms that these Olympics mark a new beginning. A transition of great magnitude has occurred. What's the nature of this transition? It's left to us to read the signs! If these signs do not relate to the arrival of the messianic pretender, the baptism and anointing of the lawless one, the Lord Beast, well, the symbols are nonsensical, the signs mean nothing at all!
What I hope you are seeing in the Abbey Road vignette of the London presentation is the stark reality of our time. Few in the church perceive the reality of 2 Thessalonians 2. It's obscured with many lies. What is presented in this scene is real. After it comes to pass and then the truth is openly revealed, those among us who are willing to be deceived will discover, too late, that we could have been spared much pain and loss.
Of those of you who have come to read this, some will perceive the truth of it immediately. Others just won't see it. This brief passage in 2 Thessalonians 2 is like the proverbial tip of the iceberg. What you don't see here is addressed at length in a series titled, The Sign for the Bride. I would love to be able to just insert that here, so you would really get what's going on. What I will do instead is make the point that, if you don't understand the iceberg when you see the tip, skipper, I believe with all my heart that your plan to successfully navigate these perilous waters is flawed. Yes, I'm being dramatic! I cannot overemphasize the importance of understanding the revealing of the lawless one as a baptism sign. If you have read the series and know it is so, you may also sense the importance of what I wrote about Pope Benedict XVI, and you may perceive how the Abbey Road scene validates it. Somebody else knows about the baptism and is flaunting it in our faces. The holy spirit bears witness.
I'm going to close this section with a punctuation mark. Take a look at the image on the left, a snapshot from the London presentation of "Whole Lotta Love." Is that a crossing guard on top of the bus? This is at the climax of the sex scene, where the dragon seed has emerged from below and is about to be launched. Why is there a crossing guard atop the bus as a central figure between the two platforms? If it is not presenting the baptism of the lawless one with the Pope officiating, the whole of it is incomprehensible indeed!
The soundtrack of this scene is some very peculiar and haunting music. As some have observed it lends a carnival atmosphere to the scene with a sound reminiscent of a circus or fairground organ. The melody seems somehow familiar, but while you're watching and listening you just can't seem to put your finger on what it is. I couldn't identify it until someone mentioned what they heard in it, someone who had not yet been exposed to this presentation. The music is a highly modified but yet still recognizable version of the classic English folk tune known as Greensleeves. With the more popular lyric, it is the song heard most commonly around Christmas time: WOW! No wonder they disguised it! Are you familiar with the lyrics? See the side bar.
With an awareness of the Christmas theme many additional elements come into focus that identify this production as a nativity scene. It is an historical reenactment with a mix of historical accuracy and current perceptions based in tradition. It is also a sign of the dragon's schemes of the present and near future. The "Merry Christmas" message is cynical, of course!
Overlaid upon the other melody is another traditional Christmas song, "We Three Kings." It's very subtle, but you can hear the opening line playing very slowly. The lyrics to this song appear in the lower side bar. As with "What Child is This," it's a very appropriate song. The visual symbols align with this lyric whose musical overtones provide the subtle backdrop for the dramatization of this curious nativity scene.
You can listen to this sample mp3 audio clip that I assembled, which is comprised of three segments. The first is from the London presentation, while the bus is approaching the stop. It's a sampling of the music with a few phrases of the commentary. The second segment is from a more recognizable version of "What Child is This?". The third segment is the same as the first, reversed so that it plays backwards. I included the reversal so you can hear how similar it is to the original.
The Nativity Scene
A nativity scene is famously set up by Christians during the Christmas season in celebration of the birth of Jesus. It usually consists of a manger with a baby boy, a mother, father, winged angels, three Oriental Kings, shepherds and some sheep. It's the setting for a composite of popular interpretations of the gospel accounts presenting the events surrounding the birth of Jesus of Nazareth. This hijacked version of the nativity celebrates the arrival of the dragon's messiah. It's an anti-nativity mockery of Christianity. Also in this scene we find a particular season implicated for a fulfillment.
Throughout the scene our attention is drawn very obviously to the words "London 2012" on the bus and on the bus stop sign. The season for nativity scenes and Christmas songs begins in late November and extends through the 25th of December. December 21, 2012 is a date frequently highlighted in associated signs. Given the obvious linking established between the nativity and 2012, I must infer this is the time frame those presenting the signs have in mind.
In this rather bizarre nativity scene I have identified three kings bearing gifts and the "star of Bethlehem" they followed from afar, the angel of the Lord and the shepherds and sheep, the manger in Bethlehem, baby Jesus, Mary and the worshipers.
The theme song is "We Three Kings," and, as the title suggests, the song features three kings. They are from the Orient, travel from afar, follow a star and bear gifts to present to the God and King born on Bethlehem's plain. These are represented by the three bicyclists.
A hint is dropped by the commentator as he narrates the scene, probably struggling not to trip over the "tongue in cheek." "...also three cyclists joining in, British Olympians themselves." Ok, there's a lot of strange things going on, but with an awareness that there is nothing random in view let's acknowledge that this rather peculiar expression, "British Olympians themselves" is a clue. The expression "We three kings of Orient are" is a rather peculiar expression. Actually, these two are similar constructions, aren't they? Since these ceremonies are taking place in the Orient, in Beijing, as brought to our attention in the redundant signage of the scene, three kings from the Orient would not be "traversing afar." So, instead of "kings of Orient" we have substitutes who have indeed traversed afar, "British Olympians."
The caravan of British Olympians who traversed afar evidently bear gifts, as the "king" on the golden bike has a backpack, and the "king" in the lead has a prominent pannier on the front. The third is dressed in black, suggesting the gift of myrrh which is linked to death as an embalming ointment and funerary incense.
As for their following a star, they followed the bus until it arrived in the vicinity of the bus stop. Remember the Zion Olympics logos from Part One? This is the Bethlehem bus stop. Then the magi caravan passed the bus and rode away (apparently warned in a dream of Herod's intent and therefore not returning back the same way they came). Yes, the bus is the star. The bus is a symbol used to represent many things, among them heavenly vehicles that are angelic conveyances, also known as stars! Here, the bus is the angel of the Lord that is popularly referred to as the star of Bethlehem.
In the video, immediately after the commentator says, "British Olympians themselves," the cyclists are shown passing the bus and the scene cuts to focus upon the bus stop sign. The sign further connects the imagery of the audio and video to emphasize just how far these three "kings" have traversed!
While the angel of the Lord is in view, let's pick up the reference to Luke 2:8ff where shepherds keeping watch over their flock at night had what we refer to today as a UFO encounter. This UFO was the angel of the Lord, who said "Fear not" and gave a wonderful testimony. The angel of the Lord is the bus, once again. The multitude that suddenly appeared with the angel of the Lord and who were heard praising God may be inferred from the Christmas songs being played, the lyrics of which fit quite appropriately! I would not be surprised to discover even "Gloria in Excelsis Deo" layered into the medley. The Londoners are of course the shepherds, who wield the common crook-ended staff of the trade, a prop that also serves as an umbrella.
Where are all their sheep? Indeed! Look around the dimly lit stadium; the fields and hills are covered with them! Those who appear nearby the bus as the scene's frequent backdrop are dressed in white with bare legs, men and women alike, which gives them the appearance of a flock of sheep. Their sheep costume includes red sashes that speak to me of the blood of the Lamb, that which will be shed by His flock as they are brought to slaughter. The dragon's plan is not to fleece the flock, he's already done that. The agenda is to shepherd the Lord's people to the slaughterhouse.
Then there's baby Jesus. Tayyiba, the innocent young girl is the messianic figure. She also happens to appear in the role of Mary, the mother of Jesus. She is aboard the bus, which now represents the manger in Bethlehem. The three "British Olympians themselves" along with the sheep herding Londoners have come to worship.
I want to emphasize the message of the bus in this scene because I know how difficult it is for some to grasp the reality of the heavenly vehicle and angelic star symbolism. The dragon who sponsored this scene was present during the historical scenes that were played out. He knows what's coming. I'm spotlighting the symbolism that's there. I'm not making it up, its there! We have been lied to, people. Accept it. What you see presented in this bus is a reality you may not want to accept, but you will!
The painting of Madonna from the late 15th century reveals the presence of what we have come to refer to as a UFO. I submit to you that it is the angel of the Lord. The Ghirlandaio painting is similar to the one I presented earlier that pictured the baptism scene at the River Jordan. The testimony of history has largely been "scrubbed" to conceal this reality. It has been accomplished through cycles of book burnings and a continual effort by the dragon to squelch and misinform. The point is to prepare the stage for what is about to break forth. The scrubbing of the record of angels and their craft from history is part of the setup. Is this a conspiracy theory from a wild-eyed loon? I guess that's your call. Some will see what they want to see, and some will not see what they do not want to see. Plenty of evidence remains for those who will see it, and the witness of the Olympic signs is full of gaping holes for those who won't.
So, why was the musical selection so heavily disguised? It was done for the same reason they obscured the visual imagery, so the message being sent is incomprehensible to most observers. Their cryptic presentation requires decryption. Once the music is recognized there is no more hiding the fact that the corresponding visual imagery must be interpreted in the same messianic context. The Christmas songs are about Christ the King, announcing His arrival and inviting the hearers to give him gifts, praise and worship. What child is this, indeed! The Christmas theme and nativity scene didn't get slipped in on the sly by some opportunistic Christians on a little evangelical mission, hoping for an altar call following the service. You can be pretty sure of that. It comes from the dragon's lair to present his messianic and demonic debutante, who has come of age! It comes to warn the flock of God that they are being herded to the slaughterhouse. Merry Christmas.
The Meaning of the Musical style
The musical style is evil on several levels. The subtle nature of this feature of the presentation does not make it less destructive than any you might perceive as being less subtle. Indeed, elements of this soundtrack will be exposed as very powerfully effective devices for discipling people for antichrist. The musical selections were disguised by manipulating the sound, apparently overlaying out-of-synch tracks, sampling backwards and folding it back on itself so that it sounds almost the same whether played forwards or backwards. Satanic symbols are frequently just inverted "christian" symbols, turned upside down or backwards. This music is a Satanic "perversion version," an anti-version, like the antichrist is of the Christ. As I studied the musical style I was led directly to some information that is so obviously intended to instruct us about the meaning of this sign. The sovereign Lord does not want us to miss this!
The balance of this page explores the meanings inherent in the historical basis of the style, and it's pretty lengthy. I'll give you a little "heads up" here about what's next after that. In Part Four, another aspect of the musical style employed will be addressed that relates directly to the casting of spells through popular music, heard not just infrequently but every day. There, you will discover how this aspect is keyed to a clever visual symbol, dramatized in a key sequence that points us to occult practices you may find shockingly personal.
The carnival atmosphere created by the music and brought to our attention as such was clearly intentional. Of all the musical styles and atmospheres that could have been chosen, why the carnival? The carnival has a distinct association with the church and is seen to have roots in Roman Catholicism, although some traditions predate the Romish church. It is associated with Lent, a so-called holiday of self denial. The carnival comes before it as a very pagan celebration of self indulgence and debauchery. The Mardi Gras is one famous carnival. In common usage, carnival can refer to similar activities that might take place at other times, but pagan revelry and excessive self indulgence remains the focus. Clearly, the whole idea of carnival is a wholly unholy celebration that mocks God and the godly while exalting their enemies. This is the atmosphere they created with their disguised versions of the Christmas songs, certainly an excellent choice to compliment the visual imagery.
The musical style will be recognized by many of you as merry-go-round or carousel music. This distinctive music is usually played by what is known as a carnival, fairground or band organ, whose pipe-organ sounds are related to the calliope and panpipes. The themes of the calliope cover the range of what is evident in the visual imagery and action of the signs as addressed so far. In this musical style and its instrumentation we find connections to demonology and the dragon, the gods of Olympus and their plans for war and destruction. There is even the implication that this haunting soundtrack is as deceitful advertising, for bait! How appropriate! The choices made for the song lyrics, the atmosphere of the soundtrack, musical style and instrumentation perfectly compliments what is pictured in the visual imagery! Thank you Lord, for making this so plain to us, so we can see your careful loving provision for us in this hour.
Here's some definitions and facts related to the calliope that show how this musical element of the sign could hardly be better suited for its purpose.
Calliope (wikipedia) "The instrument's name originates from Greek mythology: Calliope, daughter of Zeus, was chief of the Muses and mother of Orpheus. Her name, in Greek, means "beautiful voiced". Well, this is certainly appropriate for the Olympics. The daughter of Zeus in this signal element is right at home among the gods of Olympus still being represented not far from the bus on the circular platform representing Mount Olympus. Her "beautiful voice" is the musical accompaniment as the drama points to the Temple of her father Zeus (in the upcoming DNC sign).
You must know that the Olympics are of a religious nature. Olympism is not the spirit of good sporting gamesmanship. It is not about secular entertainment. An honest look at the facts reveals that the stories of the "mythological beings" of Greece could not have been the mere invention of the ancients. If the gods of Olympus were fictional, without some basis in truth, why then are these signs coming forth in such a way as we see in these Olympic signs? Has the Lord of Hosts, the ultimate sponsor of the signs, forgotten about or become confused about the past and been tricked into the promotion of fables? No! If what I'm showing you here is underscored by the holy spirit, let it speak to you about the gods of Olympism, that they are neither fictional nor departed. The legends and myths do speak some truth, and discernment must come from the Lord Y'shua. All indications from the signs are such that it is these same beings who are behind the signs and what they portend, and that they have already begun to implement the next phase of their plan. If you perceive I have been given some skill in discerning these signs, please take this very serious matter to the Lord in prayer.
The "church father" Jerome, who produced the Latin Vulgate version of the Bible, used the word "sirens" instead of the more common "jackals" in Isaiah 13:22, and instead of "owls" in Jeremiah 50:39. If you have the inclination, take a look at Isaiah 13 and Jeremiah 50. These are two very sobering chapters that are for us, now.
Here's something that should speak to you. Did you know that the founder of the Church of Satan was a long time professional player of the calliope and carnival organ? The following is a quote from the 1993 documentary, 'Anton Szandor La Vey - Speak of the Devil.' (see it on Youtube - Anton La Vey and his calliope) "I played the calliope I guess from about 1947 through 1966. When the church of Satan was formed I was still getting jobs, um, and playing in parades, fairs and things like that. Other than calliope I played band organs and carousel organs. They're basically the sort of things you hear in amusement parks."
Did you know that the man who patented the calliope, Joshua C. Stoddard, had originally intended the calliope to replace bells at churches? From its beginnings, this "daughter of Zeus," Calliope, has been purposed for a substitution in the places where the true God is worshiped! No kidding! The messianic substitution is the key element of the dragon's plan, and it is the theme woven into the fabric of the Beijing Olympics and its connected signs. The "carnival atmosphere" accompanying the bus stop scene is truly diabolical!
You know, I'm hoping at some point the message sinks in that we are being taken for patsies, suckers. And why shouldn't we be? Isn't that how we've acted, most of us with our heads in the sand? Why haven't we known about things like this, or, why haven't we cared? As I write, it is not yet too late. Is there someone you love who might appreciate the warning about what trouble is intended for their near future? It is likely they will, if they survive the threats of the near term, soon be required to make a decision that will affect them for a lot longer than the rest of their life. This is about Jesus, about Y'shua. It is time to choose, to stick your neck out. I pray that He will be with you in much grace as you choose to pour your life into His service, and He pours His life into you.
From this calliope collection page you can see the purpose of the calliope. "Calliopes (called "Kally-ohps" by circus people) are loud, and their main purpose is to create Ballyhoo." And what is this Ballyhoo?
The ballyhoo or bally, Hemiramphus brasiliensis, is a baitfish of the halfbeak family (Hemiramphidae). It is similar to the Balao halfbeak (Hemiramphus balao). Ballyhoo are frequently used as cut bait and for trolling purposes by saltwater sportsmen. A big variety of fish love ballyhoo. It is one of the greatest known fish to catch Sailfish on.
Ballyhoo is also used in colloquial American English to refer to brashness or flamboyance. The term Ballyhoo is used to indicate that one is using any means necessary to inflate an object or idea to a status to which it does not rise. This references the bait fish in that selling ballyhoo requires deceitful advertising.
As Peter was made a fisher of men and we consider this symbol of men as fish, isn't it true how "a big variety of fish love ballyhoo"? In the bus stop scene, don't we see the calliope achieving its purpose, creating ballyhoo, as the ballyhoo loving fish mob is eating it up in a frenzy? Don't we see in this sign a brashness and flamboyance in the presentation? Don't we see in this that the dragon "is using any means necessary to inflate an object or idea to a status to which it does not rise"? The messianic pretender will never achieve the status of the True messiah, and neither the dragon that of the True God. When it is written, "This references the bait fish in that selling ballyhoo requires deceitful advertising," we see the calliope and its resultant ballyhoo in its context amongst all the other symbols and signs for what it is: It is deceitful advertising. It is a classic "bait and switch" scam. This messianic deception lures men away from the net that would otherwise catch them in the Lord's harvest! Oh, "what child is this," indeed. What a horrific perversion!
The following is quoted from a calliope history page. It underscores what I've just shared and brings to light the important connection to Pan, player of the pipes from which the calliope and carnival organ appear to be derived.
This graphic description of a steam calliope tells it all:
“After that came the climax and the finale. This was the loudest monster of all. It shook the windows and deafened the ears. It bellowed black smoke that choked the throat and burned the eyes. This was no earthshaking dragon, but, rather, the steam calliope. Inside the ornate wagon a calliope player was swathed in a cloud of steam as the thirty-two whistles of his steam-powered mechanical musical monster sounded off. He operated a keyboard which activated a series of tuned whistles, each as big and loud as the one on a firehouse or a steamboat.
It played awful music. It was too loud for comfort and, despite the fact that its manipulator was as much a plumber as musician, one never found a calliope with all whistles in tune at one time. The back end of a calliope wagon contained the upright boiler and an attendant kept it stoked with coal or wood so there was plenty of pressure whenever the player decided to render “Over the Waves” or “Go Tell Aunt Rhody.” The raucous hoots and toots of the calliope served like the pipes of Pan. Inevitably, people fell in behind it and followed the show to the circus grounds.”
Quoted from The Circus in America, by Charles Philip Fox and Tom Parkinson
Pan is one of the Greek gods still worshiped today among pagans. It is his influence that appears to be called upon in the carnival atmosphere surrounding the bus. Judging from the expressions and movements of the Londoners assembled to greet the messianic pretender, the response to the arrival was beyond Ballyhoo - it was pandemonium - PAN-DEMON-ium!! Pan`de*mo"ni*um\, n. 1. The great hall or council chamber of demons or evil spirits. --Milton. 2. An utterly lawless, riotous place or assemblage. (Webster's Revised Unabridged Dictionary) Consider how the people responded to the calliope described in the above excerpt and compare to it how the Londoners behaved as the bus pulled up to the stop. The red bus representing the crimson beast of Revelation 17 can be seen as the ornate wagon carrying the calliope that is pulled to the circus, broadcasting pandemonium, casting its spell over the people. "The beast is in town - get on board - fall in behind!" And so they have! As sheep, they "follow the show to the circus grounds." A great slaughter awaits.
There is yet another element in this sign of the musical style. There is an association with the carousel in my mind and very likely in yours. The sign is part of the London presentation, and the merry-go-round with its carnival music is part of England's popular culture. I'm going to introduce the meaning of the sign here, but to really grasp the relevance of the this symbol you will have to see it in the greater context of signs associated with the Olympics. More than one deals with war, and horses, white horses. How many carousels have you seen that didn't have white horses?
Consider the origin of the carousel. (Excerpted from the wikipedia entry for Carousel)
"The word carousel originates from the Italian garosello and Spanish carosella ("little war"), used by crusaders to describe a combat preparation exercise and game played by Turkish and Arabian horsemen in the 1100s. In a sense this early device could be considered a cavalry training mechanism; it prepared and strengthened the riders for actual combat as they wielded their swords at the mock enemies."
The musical allusion to the symbol of the carousel speaks of the preparation for war. The carousel is a training device used to prepare horsemen for combat. We don't have to look very hard to find signs of this very activity being sponsored by the gods of the Olympics while the carousel music played! I'll address this soon in detail, Lord willing.
How many of us haven't seen carousels with horses flying or prancing, with some pulling a chariot? The horses and chariots represent the military might of man, yes, but, beyond that, the host of heaven; angelic forces. See 2 Kings 2:11-13 and 2 Kings 6:16-18. This supernatural reality is what I believe to be the meaning of the carousel, symbolic of the angelic forces bringing their war against God and His saints into manifestation. Are these not the forces of the gods of Olympism? The standard carousel has "fairy lights" all around, which are the stars of heaven, demonic ufos - the forces of the gods of Olympism! The lights you see all around the dragon's lair stadium are used for effect in many scenes, representing the stars of heaven, these same demonic forces. Picture the horse and chariots circling, the lights all around, glowing, shining; pandemonium loudly broadcasting - the carousel does its work, preparing for war.
This is the soundtrack of the bus stop scene; the music, subtle, but clearly enough bearing along the melody of "What Child is This" as the spell of Pan and Calliope enchants the hearers. "Come, worship and adore, greet the arriving king with praise." "Get on board the mother ship-carousel-crimson beast or follow along behind." That's the invitation, isn't it? Meanwhile, the gods prepare for all out war, to finish what they have started. Is the cryptic message not yet plain enough to bring you to alert?
In closing this third part in the series, the London presentation has now been addressed at length with its many symbolic elements. While the evidence for the interpretations I've offered here is pretty substantial, the evidence provided by some associated signs is more substantial yet, bringing validation of these crucial messages from many quarters! The next part in this series will begin to address some of the signs associated with the Beijing Olympics. Come quickly Lord Jesus!