June 23, 2020 – Avoidthemark.com
This week in an article “CERN approves plans for a $23 billion, 62-mile long super-collider” it was announced the European Organization for Nuclear Research (CERN, the largest particle physics laboratory in the world) “has approved plans to build a $23 billion super-collider 100 km in circumference (62 miles) that would make the current 27 km 16 teraelectron volt (TeV) Large Hadron Collider (LHC) look tiny in comparison.”[i]
Of course my readers know that Josh Peck and I in the bestselling book Abaddon Ascending wrote extensively regarding the end-game plans for tunneling beneath the earth and smashing atoms to smithereens as nothing more than a thinly veiled attempt to open portals, including extensively analyzing the 2016 opening ceremony at Gotthard, which made it very clear to occultists worldwide that the portal at CERN and related sites are intended to release demonic entities.
Sound too crazy to be true?
Consider all that I write below about the Gotthard Base Tunnel, its connection to CERN, and the elaborate rituals performed to beckon gods of darkness from the underworld.
The story begins in 1947 with a curious sketch by Swiss engineer Carl Eduard Gruner. During World War II, the Gruner Group (formerly Gruner Brothers) constructed railways, powers plants, and irrigation systems, but it was Gruner’s imagined shortcut through the base of the alps, connecting the Swiss towns of Erstfeld and Bodio by burrowing beneath the St. Gotthard Massif in the central Swiss Alps, that would prove to be the company’s greatest design. The Gotthard Base Tunnel (GBT) is the world’s deepest (1.42 miles) and longest tunnel (route length of 35.5 miles with a total of 94.3 miles when all shafts and passages are included). The tunnel consists of two parallel passages, each moving in a single direction on a single track.
The GBT passes directly beneath St. Gotthard’s Pass, a strategic north/south corridor that connects northern and southern Switzerland. Prior to the construction of the modern-day tunnels, including the Gotthard Rail Tunnel built in the 1880s, the only way to pass through this treacherous region was to cross the Devil’s Bridge (die Teufelsbrücke), which is aptly named considering the strange ceremony that accompanied the opening of the newest tunnel beneath the Massif. A legend regarding this Devil’s Bridge (according to oral histories cited at Wikipedia[ii]) says this:
The legend itself is related by Johann Jakob Scheuchzer (1716). According to Scheuchzer, he was told a local legend according to which the people of Uri recruited the Devil for the difficult task of building the bridge. The Devil requested to receive the first thing to pass the bridge in exchange for his help. To trick the Devil, who expected to receive the soul of the first man to pass the bridge, the people of Uri sent across a dog by throwing a piece of bread, and the dog was promptly torn to pieces by the Devil. Enraged at having been tricked the Devil went to fetch a large rock to smash the bridge, but, carrying the rock back to the bridge, he came across a holy man who “scolded him” (der ihn bescholten) and forced him to drop the rock, which could still be seen on the path below Göschenen. A modern retelling was published by Meinrad Lienert, Schweizer Sagen und Heldengeschichten (1915). According to Lienert’s version, a goat was sent across the bridge instead of a dog, and instead of the holy man, the Devil, when he was taking a break exhausted from carrying the rock, came across an old woman who marked the rock with a cross, forcing the Devil to abandon it and flee.[iii]
Erstfeld lies a twisty 186 miles or so from Geneva (CERN), and Bodio (the southern portal for the new tunnel) just as far (or farther, if one chooses to go through Erstfeld first—a laborious journey, but one that Google maps apparently suggests). The connection to Geneva’s Large Hadron Collider must be made, primarily because of the bizarre opening ceremony that was live-streamed to the entire world on June 1, 2016. So, let’s unpack the imagery within that occult dance, beginning with a call to unite the religions of the world by conducting an “interfaith” blessing of the tunnel beside a statue of St. Barbara (the patron saint of miners). St. Barbara is another curious component in this bizarre ceremony. Traditionally, her veneration and worship is said to have begun in Bohemia. According to C. E. Gregory:
Barbara Cathedral in Kuttenberg (Bohemia) built between 1388 and 1518 in the old silver city. This was thought to be the most likely source of the Barbara adoration. The cathedral was built around an already existing Barbara altar in an area with many Barbara altars present. Kuttenberg has for centuries had on its coat of arms St. Barbara above the crossed hammer and gad [Schlaegel und Eisen—the classical symbol of mining].[iv]
Allegedly, Barbara lived during the third century AD in Asia Minor in Nicromedia (near Baalbeck). Though her father planned to marry her off to a wealthy and influential friend who served “the old gods” of paganism (if they lived near Baalbeck, one can surmise which entities her father was actually serving), but Barbara chose Christianity instead—dying a martyr’s death for her trouble when she was tortured by the Roman pro-consul and then beheaded by her father. According to Wikipedia, Barbara is also considered one of the “Fourteen Holy Helpers,” a group of super saints whose core members are three virgin martyrs: St. Catherine, St. Margaret, and, of course, St. Barbara. Barbara is associated with a tower, because her father shut her up in one to keep her from the world whilst he arranged her marriage to his pagan buddy. Catherine is linked with “the wheel,” a torture device known as “the breaking wheel,” which (when Catherine was placed upon it) shattered, leaving the torturer, Maxentius, no choice but to behead her. And Margaret is associated with “the Dragon,” because Satan in the form of a dragon had tried to eat her, but her cross irritated his tummy, so he disgorged her and Margaret was put to death.
Three virgins who serve as super saints, and a tower, a wheel, and the dragon. It sounds like a hand from a tarot deck! It is also a dark echo of the three faces of the pagan moon goddess: the virgin/maiden (in white), the harlot/mother (in red and often pregnant), and the crone/widow (an old woman dressed in black).
Connected to this idea of a “triple goddess” is a legend called “The Three Bethan,” a triune goddess worshiped throughout Bavaria that is eerily similar to this notion of three virgin super saints. According to an article at druidry.org, these three supposedly Christian virgins gave all their money to build a chapel, but are actually pagan in origin:
“Beten” in modern German means “to pray.” Probably the act of worshipping the Bethen was so important and widespread that their name left its mark on the word for praying to them. Firpet or Firbet, the name of the third woman on the Leutstetten image, in modern German sounds pretty much like “Fürbitte” (intercession).
The Bethen were venerated especially in the presence of trees, wells and stones. This finds its expression in the terms “Bethelbäume” (Bethen trees), “Bethenbrunnen” (Bethen wells) and “Bethensteine” (Bethen stones). As we know, worship at wells, in forest groves and near unusual stones was a widespread feature in Celtic and Germanic religion, so we can safely assume that the Bethen cult has pre-Christian roots.[v]
Now, why would I even care about pagan triple goddesses, if my topic for this entry is about a tunnel beneath an Alpine pass? It is because of the unusual ceremony that inaugurated this dual tunnel system, and the interfaith call to worship that occurred in front of St. Barbara (whose “triple goddess” identity is made clearer in the ceremony itself). Three women—three aspects of the same moon/fertility goddess.
The “Triple Goddess” is not restricted to Alpine mythology:
Greek: Hebe/Hera/Hecate (also Artemis/Selene/Hecate); Aphrodite Urania/Aphrodite Pontia/Aphrodite Pandemos
Roman: Luna/Diana/Proserpina; Phoebe/Diana/Hecate; Juventas/Juno/Minerva
Egyptian: Hathor/Bast/Sekhmet; Hathor/Nephthys/Isis
Mesopotamian: Inanna/Ishtar/Astarte; Asherah/Astarte/Anat
Arabian (pre-Islamic): Al-Lat/Al-Uzza/Manat
Hecate, mentioned above, was thoroughly depicted in Shadowland as a gatekeeper for Jeffrey Epstein’s occult elite and their secret child-sex rituals at Orgy Island. This Titan earth-mother of the wizards and witches illustrates the triple connection between the sky, earth, and underworld realm of evil supernaturalism. As the daughter of Perses and Asteria, Hecate (Hekate) was the only Titan to remain free under Zeus. She was the mother of the wizard Circe and of the witch Medea. She was characterized by the unknown and by the night-terrors that roamed the abandoned and desolate highways.
Other revealing facts about Hecate include:
- Hecate was often depicted as a young maiden with three faces, each pointing in a different direction—a role in which she was the earth-spirit that haunted wherever three paths joined. As the “goddess of three forms,” she was Luna (the moon) in heaven, Diana (Artemis) on earth, and Hecate of the underworld.
- At midnight, Hecate’s devotees would leave food offerings at intersections for the goddess (Hecate’s Supper) and, once deposited, quickly exit without turning around or looking back. Sometimes the offerings consisted of honey cakes and chicken hearts, while at other times, puppies and female black lambs were slaughtered and mixed with honey for the goddess and her strigae. (Strigae were deformed, owl-like affiliates of Hecate that I wrote about in The Gods Who Walk Among Us and that Warner Brothers featured from that book in one season of the long-running TV program Supernatural (and consequently invited me to travel to their studios in California to be part of a bonus disc with other “religious” experts on the release of that season to DVD, which I declined) who flew through the night feeding on the bodies of unattended babies. During the day, they appeared as simple old women—folklore that may account for the history of flying witches. The strigae hid amidst the leaves of the trees during the annual festival of Hecate, held on August 13, when Hecate’s followers offered up the highest praise of the goddess).
- Hecate’s devotees celebrated with festivals near Lake Averna in Campania, where the sacred willow groves of the goddess stood, and they communed with the tree spirits (earth spirits, including Hecate, were thought to inhabit trees) and summoned the souls of the dead from the mouths of nearby caves. It was here that Hecate was known as Hecate-Chthonia, (Hecate of the earth), a depiction in which she most clearly embodied the popular earth-mother-spirit that conversed through the cave stones and sacred willow trees.
Yet Hecate had other, more revealing titles, and these names are the subject of interest for the time being: 1) Hecate-Phosphoros (“The Light Bearer” [recalling another powerful underworld spirit whose original name was Lucifer, “the light bearer”]); and 2) Hecate-Propylaia (“The One Who Guards the Gate”) as appears her jobs for Epstein included.
The idea that mythological deities were perceived as guarding gates (and in some cases imprisoned behind them), and that often these gods and goddesses were known by ancients as “light bearers” is interesting in view of Scripture. The Hebrew translation of the word “Lucifer” means “light bearer,” and the New Testament speaks of Satan being “transformed into an angel of light” (2 Corinthians 11:14). A deeper study of Scripture supports the idea that spiritual forces that exist behind barriers or “gates” are located in the sky, sea, and physical earth. For instance, the book of Ephesus is a study of principalities and powers in “high places” and “powers of the air.” In Nehemiah 9:6, the prophet speaks of more than one heaven: He saw the heavens and the “heaven of heavens.” These are peripheral heavens, or divisions, as Paul refers to in 2 Corinthians 12:2, saying, “I knew a man in Christ above fourteen years ago…[who was] caught up to the third heaven.” As a Pharisee, Paul acknowledged three main “heavens,” which include a domain of air (the kosmos), or height, controlled by Satan. In pharisaical thought, the first heaven is simply the place where the birds fly, anything removed from and not attached to the surface of the earth. On the other end of the spectrum and of a different substance is the third heaven—the dwelling place of God. This is the place from which angelic spheres spread outward. Between the first heaven where the birds fly and the third heaven “where dwells the throne room of God” is a war zone called the second heaven. This is a place of brass gates (see the Apocalypse of Zephaniah)—the kosmos or Hebrew equivalent of the Persian Ahriman-abad (as in my novel The Ahriman Gate)—the place where Satan or Beelzebul (the “lord of the height”) abides as the prince of the power of the “air” (aer, the lower air, circumambient). This war zone is a sort of gasket heaven, the domain of Satan encompassing the surface of the earth. It was believed that from here kosmokrators could overshadow cities, intrude upon, and attempt to influence the affairs and governments of men. It was also believed that from the kosmos Satan’s minions sought to close “gateways” above cities so that God’s blessings could not flow into them. Later, it was believed that when saints bent their knees in prayer, they had to pray through walls/gates of opposition contained within this gasket heaven.
In addition to heavenly gateways behind which fallen spirits dwell, Job 2.6 tells of Jonah going down to the bottom of the sea into a “city of gates” (Bariyach, a fortress in the earth, a prison) from which God delivered him. There is no doubt about where Jonah was as he prayed to God in Jonah 2:2 “out of the belly of hell” (Sheol—the underworld prison of the dead). This text is both fascinating and illuminating when compared to the words of Christ in Matthew 16:17–18: “Blessed art thou, Simon Barjona [son of Jonah]…thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it.” Matthew’s unusual choice of words connecting the rock upon which the church would be built, the name of Jonah, and the gates of hell is not a coincidence. Christ made the same connection to hell’s gateway, Jonah, and his mission for the church in Matthew 12.40: “For as Jonas was three days and three nights in the whale’s belly; so shall the Son of man be three days and three nights in the heart of the earth.”
Besides the stories of Jonah and Christ, the Bible refers to nonhuman entities in subterraneous locations as well, such as “the four angels which are bound in the great river Euphrates” (Revelation 9:14). Job 26.5 tells of the Rafa (Rephaim, fallen angels or offspring of such) who writhe “beneath the waters” (Interlinear Hebrew and Young’s Literal Translation). Second Peter 2:4 and Jude 6 indicate that the subsurface of the earth is a prison or holding tank where God has bound certain fallen entities. Deuteronomy 18:11 warns that such spirits might seek to move beyond their confines through human intervention or invitation. The Hebrew people were warned not to communicate with these spirits, and when the witch of Endor did so, they ascended up from “out of the earth” (1 Samuel 28:13).
Based on such texts, it is reasonable to believe that beings of superintelligence sometimes referred to as “gods” or the triple-goddesses mentioned above are equivalent to those whom the Bible depicts as moving through openings of sky, earth, and sea during interaction with this planet’s creatures. Some of these multidimensionals are more restrained than others, yet in most cases they can by invitation “ascend” or transcend these gateways, presenting themselves as “light bearers” or “angels of light.”
Getting back to CERN, Switzerland, and the deeply disturbing Gotthard Base Tunnel rituals that were carried out at its dedication, the worship of the triune goddess there was universal in scope, representing an “interfaith” coalescing that we even see in Catholicism to a certain degree (a faith that dominated most of Europe at one time). The Virgin Mother who is later widowed or in mourning parallels the pagan ideas of virginity, fecundity, and death.
Following the “blessing” at the statue of St. Barbara, the surviving family members and press, along with visiting dignitaries, also paid tribute to the NINE miners who lost their lives during construction of the tunnel. Nine is another occult signature number. It is 3 squared, which is a hidden 32, and it is 3 x 3, giving us a hidden 33, 3 + 3 = 6, the number of man, and this number added to 3 (6 + 3) gives an inverted 6, turning God’s creation on its head, an act and philosophy central to the “as above, so below” doctrine of the inverted tree of life (which is worshiped at the end of this ceremony).
Bodio’s “southern portal” provided the visiting dignitaries a disturbing parade of miners, erotic dancers, zombies, fallen angels, and a gay love-fest, all obeying the call of the “shepherd,” whose yodels invoke the appearance of the event’s infernal master of ceremonies, the “Goat Man.” Portrayed by a young and energetic dancing male, this creature is shown with a Baphomet headdress (a goat demon’s head) and a goat body costume (hairy pelt) with a formal tuxedo over top. This imagery is heavily evocative of the German and Bavarian Christmas demon, Krampus.
According to tradition, Krampus accompanies St. Nicholas on his midwinter rounds with the intent to steal boys and girls (putting them into a basket carried on his back), or he may decide to beat them with branches for being naughty. Maurice Bruce published a book on pre-Christian Alpine traditions in 1958, and he had this to say about this half-goat, half-demon entity:
There seems to be little doubt as to his true identity for, in no other form is the full regalia of the Horned God of the Witches so well preserved. The birch—apart from its phallic significance—may have a connection with the initiation rites of certain witch-covens; rites which entailed binding and scourging as a form of mock-death. The chains could have been introduced in a Christian attempt to “bind the Devil” but again they could be a remnant of pagan initiation rites.[vii]
Krampus, despite his negative imagery and proclivities, was wildly popular during the holidays in Germanic and Alpine countries, so much so that an entire subgenre of greeting cards known as Krampus Grüsskarten (that invariably say “Grüss vom Krampus,” translated into English as “Greetings from Krampus”) was created. Late-nineteenth-century and turn-of-the-twentieth-century cards often feature Krampus with children, but also with buxom women (if those birch branches are phallic in nature, then this makes perfect sense). Many show the goat man in formal dress (tuxedo style cutaway formal coat and trousers) but with his usual horned goat face, and always with his tongue extended.
This “tongue-out” pose seems to be popular with ancient gods, whether they be Mayan, Hindu, Babylonian, Egyptian, Greek, or even British (for some reason the coat of arms for the Prince of Wales sports both a lion and a unicorn with tongues extended). More than likely, this tongue position represents sexual lust (outside of God’s design) and sex-magic (fornicating with fallen angels), which is probably the real reason that old Krampus can’t keep his tongue inside his head. The ancient symbol of “the horned god” referenced by Maurice Bruce in the above quote allows us to connect our goat demon from the opening ceremony to CERN. Despite the fact that the LHC (Large Hadron Collider) sits three to four hours down a twisty road from Erstfeld and Bodio, the horned god’s circular logic and passion for human depravity, Hernunnos (sometimes spelled Cernunnos), the Green Man of British lore, simply had to make an appearance.
One side note here: The so-called “Rude Man Giant” formed in chalk in the downs of Dorset, England, has also been identified with Hercules/Melkart,[viii] the “Baal” who was worshiped on Mount Carmel. This gigantic chalk figure bears a knobbed club in his right hand, and his left arm is extended as if he carries something. Over time, the old lines around this left arm have faded, but in 1996, a scientific study of the massive figure revealed that he had indeed once held something upon his extended forearm. This study was corroborated in 2008, when archaeologists using special equipment to find the original chalk lines proved that a “cape” or perhaps a lion skin had once been draped upon the forearm.[ix] If true, then this enormous, aroused man may have been a tribute to Hercules, who is often depicted with a great club and the skin of the Nemean lion over his arm. What is this giant’s name? The CERNE Abbas Giant, because it is located near a small village called Cerne Abbas, but the connection to Cernunnos and CERN is tantalizing, and the meaning of the word abbas is “lion”—again connecting the Cernunnos “Green Man” to Hercules/Melkart. Finally, the slope upon which the giant reclines is called Trendle Hill. A “trendle” is an old Anglo-Saxon word for “circle” (evocative of CERN’s circles beneath the earth). Though not circular in shape, a large earthwork mound lies near the giant figure. Known as “the trendle” or “the frying pan,” it is roughly rectangular in shape, and may be an Iron Age burial ground.
The twin tunnels of the Gotthard Base Tunnel commence with twin portals, each leading to a one-way tunnel on a single track. These northward and southward journeys symbolize the death/birth/death cycle of the Green Man, who dies in the fall/winter and rises in the spring/summer. The tunnel ceremony is all about sex rites and rebirth, leading to a new world order that is a complete reversal of the Judeo/Christian design. The triple goddess and the horned god, along with human sacrifice and a return to pagan worship, lie at the center of this nauseating ritual play. Horns and the moon goddess go hand in hand. Turn the lunar crescent on its side with the points facing upward, and you have horns. The lunar crescent is but one “face” of the triple goddess mentioned above, and believe me she is a major player in this ceremony. But I get ahead of myself.
With this short introduction to the key players of our performance, let’s examine each phase of this live-streamed rite. It commenced with the interfaith blessing as mentioned earlier. Following this invocation of the triple-goddess, the shepherd aroused the horned man, who strutted into the scene (complete with eerie red lighting and smoke—like he’d risen from the Abyss), accompanied by his hellish friends—many engaged in ritualistic sex and homosexual poses. This parade of promiscuity also included a creepy “angel” that flew over top of some of the miners (presumably, representing the nine who died). Once the first phase (we’ll call it the opening of the portal) concluded, the various religious and political dignitaries boarded the train and headed toward the northern terminus at Erstfeld. Note, that the choice to begin in the south and end in the north represents the ascension of something to the surface, that is the opening of the Abyss.
The primary performances took place on a massive outdoor stage in Erstfeld. This small city lies within the canton of Uri in Switzerland. (Uri, by the way, is a type of extinct bison, echoing the “horned” theme once again). As the dignitaries settled into their comfortable bandstand seats, a display lit up, showing what looked like a huge rock mountainside. Dancers dressed as miners “climbed” this rock face and dug into the earth, so to speak, to unveil what was beneath: a great machine, formed from human arms, that rotated and churned into various shapes and designs, many of which resembled the Large Hadron Collider at CERN.
Once this “opening” is achieved, the miners strip off their orange jumpsuit attire (males only at this point, who are now bare-chested) and take up “arms”; that is, they use staves to perform a dance routine that looks like warfare. Once this battle concludes, a group of women join the men (the women wear only white underwear), and the entire dance troupe engages in a frenzied display amidst a cloud of dust (simulating smoke, perhaps?) This frenetic dance arouses a giant.
Clearly, this endeavor is far more than Switzerland’s braggadocio about an engineering feat! The connection between CERN and ritualistic summoning of a sleeping giant (the “horned god” of Cernunnos or even Melkart—both are types of the rising/dying god, and Melkart “slept” for half the year, which may be why Elijah told the priests of Baal to “call louder,” because he might be sleeping).
As the giant wakens, the dancers perform ritualistic sex rites. Following this simulated copulation, the dancers fall to the floor as if dead.
On the screen behind the dancers, you can see three men dressed as miners. Just as the dancers have died, these men also “die” after being chased by something that looks like smoke. The three men (representing perhaps the nine who died in the construction of the tunnels) fall down a deep hole, as if traveling to hell as a sacrifice, while the dancers (now revived), continue their debauched choreography. As the dead miners descend, they are met with giant hands:
We then see three ghostly female dancers arise from the pit:
As these ghostly women fly above the dancers, a giant eye forms behind them on the screen, and below a troupe of similarly ghostly dancers enter the stage area, wearing veils and skirts. At this point, men begin to assume female attire, demonstrating a reversal of traditional morals and roles as the spirit of the Abyss takes over. Whirling dervishes accompany these strange dancers, along with men wearing costumes that make them look as if they are covered in animal hair or straw. These strange “Cousin It” types creep alongside a long line of musicians who bear Alpine horns. It’s clear that the strange mashup of Alpine with Middle Eastern traditions is intended to show an international revelry welcoming the risen “god” from the Abyss.
Behind the musicians and ghostly dancers, the horned god makes his grand entrance to the stage, and following him (as if to bless him) is the first of the triune goddesses: the Maiden. She is dressed in virginal white, and she trails behind the horned Cernunnos, “Goat Man.”
Like Krampus, the Goat Man wears a cutaway tuxedo with a red carnation, representing his assimilation into our modern culture:
As the Goat Man dances with the strange collection of humanity on the stage below, his image is also displayed on the monitor screen behind the troupe, showing the “true demonic spirit” behind the world’s return to pagan worship:
Notice that three scarabs fly before this screaming face (the spirit of Antichrist). Scarabs represent rebirth in Egyptian culture. The screen again changes, and the massive Antichrist face becomes a vortex of eyes. This Antichrist New World Order will shut down all free will, and the citizens of the world will be watched (the Watchers) every moment of every day.
As these Watchers rise up from the Abyss, the Goat Man embraces the Maiden, impregnating her. He is then declared to be king as all bow down to worship him.
As with many pagan pantheons, the king then dies (remember that the “horned man” is a type of rising/dying god, and many of these deities [once dead] are replaced by a child [Osiris/Horus, Nimrod/Tammuz are examples]). After the Goat Man’s “death,” we see a strange Goat Child appear off to one side of the stage (as if he exists in a separate place):
Now that the Goat Child has been conceived, a chorus of men and women (some cross-dressing) bring offerings of greenery and branches, and roots begin to appear on the large screen behind the main stage.
Massive roots appear, showing the occult inversion of the Tree of Life, and within a few moments these roots transform the world into a massive machine. Men dressed as miners stand upon large pistons, and cogs within the great machine interconnect and drive these pistons. The New World Order that has been set into motion by the summoning of the satanic Goat Man culminates with the reappearance of the Maiden, now adorned in blood red and heavily pregnant (the second face of the triune Goddess). She is the Whore of Babylon, ruling a world of imprisoned humanity:
Note the horned figure just behind the Whore dancer. The Goat Man is now a Goat Woman, again indicating a strange reversal of the old order. The ancient Watchers whom pagans worshiped as gods had the power to take both male and female forms, giving rise to the belief in “twins” (Hermes/Aphrodite is one example of a twin god). As the Whore gives birth, the Goat Man appears to revive, only now his “goat head” has been removed, making him appear more human. Remember, the Antichrist will appear to revive from a fatal “head wound,” and once resurrected, will be worshiped by all the world. The inversion of form at this point shows men are dressed as women and women as men. The New World Pagan Order will stand the Judeo/Christian world on its head, and the old gods will return to enthrall mankind using drugs, rampant sexual “freedoms,” and secret knowledge.
This bizarre opening ceremony cost Switzerland eight million euros to stage—a ridiculous amount considering the economic crisis facing nearly every nation of this bloc. Sacrifice, sex magic, and science (CERN) form the hellish trinity of practices revealed in this detestable display. Who in their right mind would spend even one euro on such a strange ceremony? Clearly, this live-streamed event was intended as a worldwide ritual and not a celebration of engineering.
The Goat Man is waiting to rise, and Switzerland’s ritual tells us that unregenerate mankind will welcome him when he emerges from the pit. The triune goddess will ride the “beast system,” and though this crazed play shows an ecstatic world population that works together like a well-oiled, debauched machine, the truth is far more insidious. The Goat Man, the Antichrist, will enslave mankind using his own lusts as a key.
The beast you saw was, and is not, but is about to come up from the Abyss and then go to destruction. The inhabitants of the earth—all those whose names have not been written in the book of life since the foundation of the world—will be astounded when they see that the beast was, and is not, but is to come (Revelation 17:8, NET, emphasis added).
Did CERN have this in mind when they approved construction of the new 62-Mile Super Collider? Did they pick “62” specifically because they know this is occult numerology for dark Archangels and Ascended Masters, which they believe influence human spirituality and man’s destiny?
Let me know in the comments section below.