The Olympic Games provided the nation with a couple of weeks of ‘feeling good’ about itself, with record numbers of medals being won by Team GB and a smooth running organisation which was widely praised as producing the ‘best games ever.’ The Opening and Closing Ceremonies were watched by an estimated 900,000,000 people worldwide and considered to be a spectacular success with their dazzling effects and fast moving content. Newspapers commented on the fact that people actually looked happy in London and talked to each other on the tube. Once the party was over people began to experience the predictable hangover reminding us that the athletes run for ‘a perishable crown’ (1 Corinthians 9.25), but we run for an ‘imperishable crown.’
While most people were enraptured by the opening and closing ceremonies, I was appalled by the blatant occult symbolism conveying an antichrist message which was behind both ceremonies.
The original Olympics began as a pagan rite, when the athletes lined up before a giant statue of Zeus holding a thunderbolt, and swore an oath to him in his Temple at Olympia. Athletes made sacrifices to Zeus (typically pigs or sheep, but other animals would do as well), in hopes that he would recognize them and honour them for their skill and talents. The Olympic Flame was said to be lit by rays of the sun and to commemorate the theft of fire from the Greek god Zeus by Prometheus, who was the original ‘torch bearer’ in Greek mythology. Fire was considered by ancients as being a tiny spark of the sun, which was considered to be the physical manifestation of deity. 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”.
The Games continued in days of Roman Empire. Early Christians did not participate in the Games, because they were so thoroughly pagan. The Roman emperor Theodosius (A.D. 346-395), did away with the Games. The first modern Olympics were held in Athens in 1896. The fire was reintroduced at the 1928 Summer Olympics in Amsterdam, and it has been part of the modern Olympic Games ever since. The idea of the torch relay preceding the Olympics began at the 1936 Summer Olympics organized by the Nazis in Berlin.
The Olympic Torch today is ignited several months before the opening ceremony of the Olympic Games at the site of the ancient Olympic in Olympia, Greece. Eleven women, representing the Vestal Virgins, who according to ancient Roman religion, were priestesses of Vesta, goddess of the hearth, carry the flame. The torch briefly travels around Greece via short relay, and is then transferred to the host city at a ceremony in the Panathinaiko Stadium in Athens. The Olympic Torch Relay ends on the day of the opening ceremony in the central stadium of the Games. The final bearer of the torch runs towards the cauldron, and then uses the torch to start the flame in the stadium. After being lit, the flame continues to burn throughout the Games, and is extinguished on the day of the closing ceremony.
As the teams from the nations entered the arena of the stadium in London, they were accompanied by young girls dressed like priestesses carrying bowl shaped objects referred to as ‘copper petals’. These bowls were placed in the ‘cauldron’ which was then lit by the Olympic torch at the end of the ceremony. As the bowls caught fire they were then lifted up so that the final effect was that the individual fires representing the individual nations were merged into one central fire burning in the cauldron, symbolizing the unification of the nations. It was interesting that there was a great deal of emphasis on the place where the flame was lit as a ‘cauldron.’
In Wicca and some other forms of neopagan or pagan belief systems the cauldron is still used in magical practices. Most often a cauldron is made of cast iron and is used to burn loose incense on a charcoal disc, to make black salt (used in banishing rituals), for mixing herbs, or to burn petitions (paper with words of power or wishes written on them). Cauldrons are often sold in new age and metaphysical stores and may have other symbols of power inscribed on them.
Isles of Wonder – The Opening Ceremony.
Danny Boyle’s London’s Olympic Games opener had plenty of stunning effects and humour, with a strong appeal to pop culture, which gave it rave reviews in most of the media. It was meant to show something of the history of England with the ‘green and pleasant land’ being transformed into the ‘dark satanic mills’ of the Industrial Revolution and then into the ‘liberation’ of the multi-cultural modern period. The famous song ‘Jerusalem’, written by the poet and artist William Blake (1757-1827) and put to music by Sir Hubert Parry, formed the backdrop to this presentation.
Some consider ‘Jerusalem’ to be a Christian hymn, because it talks about the ‘holy lamb of God’ (i.e. Jesus), but the fact is that Blake was certainly not a believing Christian. He had visions of ‘angels’ from a young age and associated with mystics and occultists, participating in séances. He was influenced by the writings of such figures as Jacob Boehme and Emanuel Swedenborg who are seen as fathers of occult influences behind Freemasonry and Theosophy. He inherited the idea of the innate divinity of human beings from Swedenborg and his work contains a pantheistic theme of bringing all together as one. A number of his ideas tie in with the New Age view of God being inherent in Man, showing the ‘Human Form Divine’. He practiced a form of ‘automatic writing’ particularly in his art work. Automatic writing is described as ‘a technique to quiet the mental chatter that obscures dialogue with spirit guides and angels’. This actually means channelling inspiration from evil spirits.
Blake’s ‘Jerusalem’ is based on the legend about Joseph of Arimathea (in whose tomb Jesus was buried before rising from the dead – Matthew 27.57). According to this legend (for which there is not a shred of evidence in the Gospels or early Christian literature) he was the uncle of Mary, mother of Jesus, who took charge of the infant Jesus after the death of her husband Joseph. Joseph of Arimathea was a rich merchant with a large fleet of ships that ran the tin trade for the Roman Empire, between England and the Mediterranean. He travelled to the area that is now England and visited Glastonbury during the years between Jesus being 12 years old and the beginning of his ministry at the age of 30.
Glastonbury was already a place with mystical significance, also known as the Isle of Avalon, connected to the legends of King Arthur. According to legend, Joseph of Arimathea later visited Glastonbury with the Holy Grail, the Chalice which Jesus used at the Last Supper to serve the wine. He thrust his staff into Wearyall Hill, which then grew into the original thorn tree. The Holy Grail is also connected to Arthurian legends and is sometimes referred to as a “cauldron”, although traditionally the grail is thought of as a hand-held cup rather than a large pot or “cauldron”. This may have resulted from the combination of the grail legend with earlier Celtic myths of magical cauldrons.
A model of Glastonbury Tor was a centrepiece of the Olympic Opening ceremony, the place where the national flags of the participating teams was placed. Glastonbury Tor today, because of its associations with these mystic origins, is a high place of occultism in Britain. The town is full of New Age mystic shops and features the yearly Glastonbury Festival which contains a mixture of occultism and pop music. The ‘cauldron’ was the centrepiece of the final scene of the Olympic ceremony where all the lights of the nations were brought together as one. So in both of these we had a symbol of the nations being united in an occult New World Order.
‘Jerusalem’ begins with four questions about whether Jesus visited England. ‘And did those feet in ancient time, walk upon England’s mountains green? And was the holy lamb of God in England’s pleasant pastures seen? And did the countenance divine shine forth upon our clouded hills? And was Jerusalem builded here among those dark satanic mills?’ The answer to all these questions is No. Jesus never visited England. The only countries He visited outside of Israel were Egypt as a baby and Phoenicia (modern Lebanon) when He went to Tyre and Sidon (Matthew 15). Jerusalem is in the Judean hills in Israel, the place to which the Lord Jesus will return at His Second Coming to the earth, and from where He will reign over the earth during the Millennium or Messianic Age. The New Jerusalem will come down out of heaven from God, when the present earth has passed away, so we will not build it here in England or anywhere else on earth during this age.
So the song Jerusalem is not about any Jerusalem to be found in the Bible and, if it is about Jesus, it is certainly not about the Messiah of the New Testament. Blake’s ideas about God and Jesus would however fit in with ‘another Jesus’, the mystic Jesus who featured in the Gnostic heresies which plagued early Christianity. Today this is manifested in the various New Age and occult forces which I have no doubt Blake would have fitted into if he were alive today. It ends with the words, “I will not cease from mental strife, nor shall my sword sleep in my had, till we have built Jerusalem in England’s green and pleasant land.” This sentiment is actually condemning people to endless ‘mental strife’ because there will be no ‘Jerusalem’ built in England! But what does he mean by ‘mental strife’ and the sword that will build Jerusalem? Certainly not the preaching of the Gospel of peace with God through repentance and faith in the Lord Jesus Christ. Much more likely a combination of humanistic self-effort, even accompanied by violence, plus a heavy dose of the occult leading to the Antichrist.
It is interesting that the idea that Danny Boyle, the producer of the programme, wanted to get across was that of building a better world through human endeavour. In his programme notes he wrote: ‘But we hope, too, that through all the noise and excitement you’ll glimpse a single golden thread of purpose – the idea of Jerusalem – of the better world, the world of real freedom and real equality, a world that can be built through the prosperity of industry, through the caring nation that built the welfare state, through the joyous energy of popular culture, through the dream of universal communication. A belief that we can build Jerusalem. And that it will be for everyone. ‘
According to the prophecies of the Bible this age will end not with the building of a humanistic ‘Jerusalem,’ a better world of freedom and equality, but with the rule of the Antichrist, who will bring oppression, persecution and destruction to the earth before the deliverance which comes from the glorious Second Coming of Christ. While I would not say that the London Olympics are themselves setting the scene for the Antichrist, I would say that the spirit behind this production was ‘antichrist’ and preparing the way for the strong delusion which the Bible says will lead to his coming.
Blake’s Jerusalem gave the theme to the ‘history’ lesson of ‘Isles of Wonder’ which followed the singing of the song. This left many people, especially foreign correspondents reporting the scene, wondering what was going on. First we had sheep and cattle grazing in green fields with happy peasants dancing round the maypole and men playing cricket. This idyll of ‘England’s green and pleasant land’ gave way to the section described as ‘Pandemonium’ as the ‘dark satanic mills’ of the Industrial Revolution rose up out of the ground, uprooting the trees and driving the peasants off the land into the inferno of capitalism with harsh faced men in top hats calling the shots and cloth capped workers slaving away in the factories. This in turn gave way to the modern age with the changes brought about by the modern world with the Suffragettes and then the sixties as a cast dressed in the uniform of the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band marched on. We then had a long scene celebrating the NHS and children’s literature from Mary Poppins to Harry Potter. The sixties with its pop culture and sexual liberation were presented as a time of enlightenment and liberation from the darkness of the previous century.
One of the commentators described it as ‘my kind of history lesson’ and probably for many it was. For anyone with discernment, it was a totally unreal piece of creative imagination which fitted in with the superficial modern mindset that swallows propaganda without thinking. The pre-industrial age was not an idyll of happy peasants living on the land but had times of oppression and terrible poverty. The industrial revolution did bring hardship for multitudes but it was not all harsh faced capitalists and oppressed workers. It was during this time that the Gospel message went out powerfully into the British Isles and from these islands spread around the world. The modern age is certainly not a time of liberation and enlightenment, as we forget God, obsess over media and sports stars, while plunging into debt, with a culture filled with immorality, violence, addictions to drink and drugs and the occult. Much of that culture was celebrated in the ceremony.
Some have commented on the fact that the programme was left wing propaganda (and generally been shot down in flames for daring to say so). It did just so happen that the scriptwriter for the opening ceremony, Cottrell Boyce, began his career writing for Living Marxism magazine, the journal of the British Revolutionary Communist Party. Probably this is why some considered Britain’s opening ceremony much more socialist in tone than the opening for the Beijing Olympics put on by Communist China! Labour politicians struggled to contain their glee about the ceremony’s message, congratulating Mr Boyle for ‘smuggling in wonderfully progressive socialist sentiments’. Carl Sergeant, a minister in the Welsh government, took to Twitter to describe Friday’s opening ceremony as ‘the best Labour Party political broadcast I’ve seen in a while’. Taunting David Cameron, he added: ‘Working class history, multicultural, NHS, CND, gay kissing. Well done, comrade Boyle! Bet Dave is wriggling!’
Not surprisingly any positive view of the contribution of Christianity to Britain’s past was omitted. The 19 century saw revivals of Christianity with 59% of children attending Sunday School in 1859, and missionaries going out to spread the light of the Gospel to the world. Nor was there anything about the British Empire or the contribution of Britain in promoting parliamentary democracy and the rule of law in the world. This is entirely in keeping with the worldview our youth are constantly being presented with in schools and entertainment (particularly from the BBC). According to this view the past traditional values of Britain are a subject for mockery and rejection. One sensed something of this spirit in the sequence where ‘Mr Bean’ was sending up the opening scene of the ‘Chariots of Fire’ film, which did have a Christian theme in it, and even in the arrival of the Queen with the mock up of her being parachuted out of the helicopter.
The presentation also contained a number of occult items. Some have commented on the oddness of the words from ‘The Tempest’ which were put into the mouth of Brunel in the opening scene of the ‘Pandemonium’ section of the ceremony.
Be not afeard. The isle is full of noises,
Sounds, and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep
Will make me sleep again; and then in dreaming
The clouds methought would open and show riches
Ready to drop upon me, that when I waked
I cried to dream again.
One has to say that The Tempest is one of Shakespeare’s strangest plays. In its original context, the speech is made by Caliban, who is a half-man, half-beast, as an explanation of the music being played by the invisible spirit Ariel. He appears deformed, subhuman, sexually rapacious, violent, cringing and ignorant. The ‘isles’ he inhabits have been taken away from him by a colonialist ruler he is about to kill. In the context of this quote he dreamed of riches and when he woke up found nothing had changed and so ‘cried to dream again.’ Quite what the connection to Brunel and the Industrial Revolution is unclear, but it could be said that the fact that he wakes up unsatisfied from his dream is an unintended ironic comment on the dream world being conjured up by this performance.
So a half man, half beast who hears music from an invisible spirit is the source of the opener to programme. A half-man, half-beast sounds a bit like a demon. Following this we had ‘Pandemonium’ a title taken from Milton’s Paradise Lost. Pandemonium means all demons or demons everywhere and for the discerning that was what we saw. Following the ‘pandemonium’ which was supposed to represent the Industrial Revolution and the uprooting of idyllic rural England, a group of people dressed in the clothes of the record sleeve of the Beatles’ record, Sergeant Pepper’s Lonely Hearts Club Band appeared. The record sleeve of Sergeant Pepper has a photo montage of the Beatles’ heroes, among whom is the Satanist Aleister Crowley, who inspired a number of pop music heroes and was described as ‘the wickedest man who ever lived.’ The Beatles apparently took Crowley’s teaching very serious — Beatle John Lennon, in an interview, says the “whole idea of the Beatles” was — Crowley’s infamous “do what thou wilt”: “The whole Beatle idea was to do what you want, right? To take your own responsibility, do what you want and try not to harm other people, right? DO WHAT THOU WILST, as long as it doesn’t hurt somebody.”
The main characters of the show were demons and witches. There were figures dressed as demons running around children in bed in the hospital and a giant model of Lord Voldemort, taken from the Harry Potter stories in the centre. Voldemort is the dark wizard who is so fearsome that no one dares pronounce his name in the stories (his name means ‘desire for death’). What had all this to do with the Olympics? It certainly had a great deal to do with modern Britain however as we see our children being brainwashed and drawn into the occult by Harry Potter and other demonically inspired books, TV programmes and music. The whole scene ends with a giant creepy baby being offered up – a sign of new antichrist Messiah perhaps.
We also had children dancing in the form of the CND symbol (an occult symbol) and Britain’s first televised lesbian kiss — from a 1993 episode of soap opera “Brookside” — was shown in a fast-moving montage of film and TV clips. All of this presented with hypnotic drum beat music. We had the National Anthem performed by a group called ‘Chaos’ followed by a number of pop music songs, many of which were exalting demonic forces.
During the singing of ‘Abide with me’ which is a genuine Christian hymn, there was a dance scene led by Akram Khan, a Hindu who is a devotee of Sri Pratap Pawar who is known as ‘India’s Divine Dancer.’ He is an outstanding exponent and teacher of the North Indian dance form, kathak. According to Wikipedia ‘kathak’ dance begins with ‘an invocation to the gods’. One of Akram Khan’s most well known works is presentation called ‘Gnosis.’ On his website we read about Gnosis: ‘Inspired by the Mahabharata story of Queen Ghandari, who blindfolds herself for life to follow her blind husband, Gnosis explores the notion of inner knowledge and clouded vision, of ‘seeing darkness yet being blind to light.’ Those with discernment will recognize this as bringing in New Age / Hindu concepts which are anti Christian in their origins. It also links into Gnosticism, the heretical belief system that infiltrated and plagued early Christianity. Multiculturalism, which has really become the belief system of modern Britain, demands that we merge Christianity with other religions and declare them all to be one. This was part of the message behind a Hindu inspired dance group performing while a Christian hymn was being sung.
The climax of this section was the creation of the Olympic rings which came down from above amidst music which had a feeling of worship about it. During the raising of the Olympic flag I felt a very strong antichrist spirit being invoked and then we had all the lights of the individual nations merging into one light – of the one world global system of antichrist.
The closing ceremony.
The closing ceremony was in many ways even worse than the opening one and had an antichrist theme as it celebrated British pop music. There was blatant promotion of sexual immorality, homosexuality, youth rebellion against authority as well as the occult.
Three of the main characters of the show were blatant homosexuals: Fred Mercury, who appeared in a giant hologram, George Michael and David Bowie. Kate Bush also sang a song where a girl wants to be a man. Annie Lenox appeared on a boat of the slaves with a figure looking like Lucifer in tow, singing a song taken from the musical of Dracula. The singer was dressed as a witch High Priestess in red and black and looked possessed.
One of the songs was ‘Always look on the bright side of life’ taken from ‘Life of Brian’. In the original this song is sung by people waiting to be crucified along with ‘Brian’ who is mistaken for the Messiah. The words say, ‘For life is quite absurd/ And death’s the final word/ You must always face the curtain with a bow./ Forget about your sin – give the audience a grin/ Enjoy it – it’s your last chance anyhow. / So always look on the bright side of death Just before you draw your terminal breath.’ The ceremony definitely meant to connect this song with ‘Life of Brian’ and therefore a mockery of the Lord Jesus Christ. This connection was made by Roman soldiers coming on (as for the crucifixion) and women dressed as nuns dancing around.
It also featured John Lennon’s song ‘Imagine’ which was sung almost like a hymn by a choir from Liverpool. This song invites us to imagine a world without heaven, hell, nations and religion. It pushes a humanistic idea of people sharing the world in a brotherhood of man: ‘Imagine there’s no heaven / It’s easy if you try / No hell below us / Above us only sky / Imagine all the people living for today. 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.’
The spirit of bringing the nations together as one which is found in Lennon’s ‘Imagine’ is celebrated in the Olympic Hymn which has the words:
‘Immortal spirit of antiquity / Father of the true, beautiful and good / Descend, appear, shed over us thy light / Upon this ground and under this sky / Which has first witnessed the unperishable fame. … In thy light, plains, mountains and seas / Shine in a roseate hue and form a vast temple / To which all nations throng to adore thee, / Oh immortal spirit of antiquity!
At the end of the presentation we had the phoenix rising out of the fire of the cauldron, a very potent symbol connected to paganism, the occult and freemasonry. Masonic author, Manly Hall, wrote in his book ‘The Phoenix: An Illustrated Review of Occultism and Philosophy’: ‘The Phoenix, it is said, lives for 500 years, and at its death its body opens and the new born Phoenix emerges. Because of this symbolism, the Phoenix is generally regarded as representing immortality and resurrection … The Phoenix is one sign of the secret orders of the ancient world and of the initiate of those orders, for it was common to refer to one who had been accepted into the temples as a man twice-born, or reborn. Wisdom confers a new life, and those who become wise are born again’ [p. p. 176-77]. Former witch, William Schnoebelen, in his book, Satan’s Door Revisited, wrote, “The Phoenix, is believed to be a divine bird going back to Egypt … This Phoenix destroys itself in flames and then rises from the ashes. Most occultists believe that the Phoenix is a symbol of Lucifer who was cast down in flames and who … will one day rise triumphant.’
In occult thinking the death and resurrection of the Phoenix is seen as the death and resurrection of this present civilisation out of which will come Satan’s New World Order.
The next Olympics will be held in Rio de Janeiro. Instead of Rio’s famous statue of Christ the Redeemer, what we saw was the Brazilian singer dressed as Yemanjá. Yemanjá is the pagan voodoo goddess of the seas, also known as Leviathan. Satanists say that every country is ruled by a lieutenant of Lucifer and his element, and Brazil is ruled by water and Leviathan. Therefore, what we saw was the torch being passed to the demonic overlord of Brazil.
At the end of the opening ceremony after the athletes had marched in, we had the Arctic Monkeys singing the Beatles’ song ‘Come Together.’ The song’s history began when Lennon was inspired by Timothy Leary’s campaign for governor of California titled “Come together, join the party” against Ronald Reagan, which promptly ended when Leary was sent to prison for possession of marijuana. Leary was the ‘high priest’ of the hippie movement in the 60’s with his famous “turn on, tune in, drop out” phrase. He advocated the use of psychedelic drugs, especially LSD, to expand consciousness. Most of the words of the Beatles’ song are almost incomprehensible and read like they were written on a drug trip (for example: ‘He bad production, He got walrus gumboot, He got Ono sideboard, He one spinal cracker’). The words which do make some sense are:
‘One thing I can tell you is
You got to be free
Come together, right now
One of the ideas the presentation wanted to get across was humanity ‘coming together’ through the Olympic spirit. This was symbolized by the flames of the nations coming together into one flame in the cauldron and the flags of the nations being placed on a hill which represented Glastonbury Tor in the opening ceremony and then by the Phoenix rising out of the ashes in the closing ceremony. What are they coming together into? What have they got to be free from? Tyranny and ignorance or restraint from evil, God’s commandments, Jesus Christ? Come together over who? God or the devil and antichrist? There was a strong spirit of antichrist, behind this production which ties in with the prophetic Psalm 2:
Why do the nations rage, and the people plot a vain thing? The kings of the earth set themselves, and the rulers take counsel together, against the Lord and against His Anointed, saying, “Let us break Their bonds in pieces and cast away Their cords from us.” He who sits in the heavens shall laugh; The Lord shall hold them in derision. Then He shall speak to them in His wrath, and distress them in His deep displeasure: “Yet I have set My King on My holy hill of Zion.”
The nations today are breaking away from the ‘cords’ or restraint of God’s commandments and doing what they want to do, with sexual immorality, homosexuality, the occult and violence being promoted by the media and those with power. We have confusion of faith as the Gospel of the Lord Jesus Christ is rejected and the idea that all gods are equal is constantly broadcast in our media and education system and accepted even by much of the professing Christian Church. In fact Jesus is Lord and unique. He has demonstrated this by rising from the dead and sending the Holy Spirit to give new life to all who repent and believe the Gospel. He will demonstrate this in supreme power when He returns as King of kings and Lord of lords, destroying the power of the antichrist and setting up His millennial kingdom when He reigns from ‘My holy hill of Zion’, the real Jerusalem.