Monday, 10 September 2012

The Paralympics Closing Ceremony

This will hopefully be my last look into the London 2012 subject, at least until I talk on the subject in a few months. To be honest, what I have noted here (with regards to The Paralympic Closing Ceremony) is merely an exercise in completion! I have posted articles on the “build-up” and the three previous ritual ceremonies, so it seems only fair that I do the same for the finale. These rituals are “much of a much-ness” now. They have the same effect on me as drinking a bottle of ‘Draino’ (I only suspect! Thankfully I’ve never actually had the experience!)

If it wasn’t for the implications and a feeling of responsibility to highlight the hidden meanings and symbolism in such pantomimes, I wouldn’t give them the time of day. With that in mind, I’ve decided to point out a few interesting aspects and leave you to hopefully set out and look for the true nature of these representations for yourself. I do find it telling that (early in the proceedings) the commentators quoted the artistic director of the ceremony. She apparently asked people "not to look for too much meaning in all this...."

The “Festival of the Flame” seemed a little blatant to me really. I found it curious that the Saturn aspects (the three ‘agitos’ hung above the stadium floor) were demolished within the opening moments, paving the way for all manner of “fire” related themes and several examples of ‘sun worship’. An early opening video featured a “book of fire” being passed from person to person. It also introduced an array of ‘steam punk’ style vehicles and machinery racing toward the stadium. The latter took the form of mechanical creatures (horses, a giant fish, a dinosaur called “clamposaurus”, etc.) Many of the contraptions had ‘horned’ and ‘winged’ riders. One device was a mechanical man (who was on fire!) riding a bicycle. The commentary pointed out several “fan” devices as “wind gremlins”, who charged ahead of the cavalcade to lead a battle against the guardians / “dreamers” of the agitos… honestly! I couldn’t make this stuff up!

The commentary was a little unusual. The talking heads called it “a symbol of beginnings and ends”, “unity and human spirit”, “hope for the future”, “the power of love” (all strangely out of context), punctuated by continual references to the military and “the war on terror”…

The flag parade commenced, with the bearers initially forming a blatant triangle (trinity, pyramid, make of it what you will) and then a heart. It was all very cardiac warming and you could really feel the love! In keeping with this love fest, “Clamposaurus”, a rocket car (with a red star on the side), and some black feathered demon crow type creatures on stilts joined the ‘hug-in’, followed by a load of snarling and growling dancers with flame throwers – who proceeded to torch the ground and anything else they could find… it was all very lovely!
Once again, a huge eye was formed on the stadium floor and the military aspect came to the forefront when Lance Corporal Rory Mackenzie (an athlete who lost several limbs in Iraq) told us how this would “set the heart alight”, described a seasonal theme (with Summer designated the ‘spirit of fire, energy and passion’) and shouted “hail to the festival of the flame.”
From here on, the ritual became a vehicle for Coldplay fans (of which I’m not), who pranced around in the midst of the spectacle. Some of their lyrics seemed to synch well with the themes on display: “open up your eyes” (when the eye was formed), “look how they shine for you”, “it’s gone… up in flames”, “hear Jerusalem bells a ringing”, etc. Their bass drum had a blue lion (sun theme) on it, which I initially took as a six horned goat head! The band also had hypnotic swirls (“Monarch” perhaps?), hearts and all-seeing eye designs on their clothes and instruments. The piano was particularly curious – decorated with a pyramid and a lightning strike to the capstone, several single eyes, swirls and the statement: “and I heard it on a TV show”, a clever reference to the mass method of assimilating information these days.
I noticed the return of the light bulb motif when a dozen or so female acrobats descended into the stadium attached to Chinese lanterns made of glowing bulbs. A troupe of dancers were dressed as Egyptian slaves, as a “sun king” structure (similar to The Olympic “Phoenix”) was set alight and raised above the audience. The design also incorporated a ‘Kundalini’ aspect into the lower half. There was a Snow Queen (“Narnia” presumably), a sphere of energy (although I’m not sure how successful they were in igniting it!), dancers spinning fluorescent rods that appeared to show the faces of clocks (‘time’ again), green laser lights shone into the sky (maybe the ET aspect wasn’t abandoned after all), and a load of stuff toward the climax about waterfalls, etc.
I mention the water aspect because it seems to factor into the contemporary music industry an awful lot. This seems to go hand in hand with the inclusion of Rihanna (initially covered in fire-red) and Jay-Z as guest performers. These two individuals (amongst several others) appear high up in the pecking order of the global agenda player’s machinations within the music scene. There have been claims made about Rihanna’s mind control status (she is referred to in one of her own videos as an “illuminati princess”) as well as Jay-Z’s position as a possible “handler”. He has made numerous references within his songs to “The New World Order”, “The Illuminati” and “I’m riding high like Rockefeller”. There is an excellent interview on Richplanet TV (where Richard D Hall interviews music/mind control researcher Jemma King) that is well worth watching. Researcher Neil Sanders has also talked at length about this connection.
In any case, the references were here. Rihanna sang (with Coldplay), “I’m just a puppet” and something about a “capstone” (although this was clearly audible, I couldn’t catch the surrounding lyrics. I will have to look them up.)


There was one other intriguing design that was obvious throughout. The floor of the stadium was set out in a weird “crop circle” style of intricate design. Not being that “up” on the subject, I would be interested to know what people made of it. Feel free to post your thoughts in the comments. The close up shots were to brief to grab and the long shots lacked detail. I hope to get some better images in due course.

Toward the end, Bored Coe took to the podium and talked about how proud he was and how these Games were truly “Made in Britain” (via the global agenda players, of course!). He closed with a story of a doctor he had met on the train (who had volunteered as a “games maker”). Coe tried to thank him however the doctor said “no, I should thank you.” He said that he had been “witness” to the events on 7/7 and how volunteering for The Games had provided him with closure.

This prompted a reaction from me that rarely happens… I lost my temper. As I hurled words like “anus” and “contemptible” at Coe’s face on the TV, I realised I was accomplishing nothing and quietened down! You really do have to wonder who is responsible for these ridiculous attempts to shoehorn lies into all and sundry. Is it Coe himself or somebody higher up the chain? With the anniversary of 9/11 just upon us, it brings home the reality of the world we truly live in and reminds us how desperate the players are to reinforce their “truths” upon us. For many people, these tactics still work. For those of us who see through the lies, it makes a mockery of reason and critical thinking, as well as insulting the memory of the victims.

As I said in my previous Paralympic article: if these Games are meant to be about sportsmanship, skill and determination, then lies about the greatest crimes in history have no place there. However, London 2012 has shown itself to be much darker in nature than a mere celebration of sport. Even though I don’t agree with the inclusion of perceptual management via such events (or in any other way for that matter!), it would make sense that those in charge would see fit to place all manner of crap in them. The setting seems to fit.

I say, let them get on with it. We know the score and it’s enough to confirm that their efforts are ultimately pointless. I do worry about those who will be “riding the high” after The Games, if the feeling is palpable in the national consciousness, TPTB may feel the need to smash it down. They feed off such efforts. Although the summer of ritual is now over, we may need to cautiously keep an eye on things for a little longer.

Until next time,
The Truth Seeker’s Guide.

See also:
Science Fiction and the Hidden Global Agenda:

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