A while ago I posted a William Henry interview on the strange happenings and symbolism associated with the Summer Olympics in London. Red Ice Radio interviewed both Henry and his guest from that show Chad Stuemke, in a special broadcast on the topic. They also brought together a sampling of other perspectives on just what is going on with the Olympics Planning Committee.
It's quite a compendium. In addition to Henry and Stuemke, there are interviews and excerpts of interviews with David Icke, Stewart Swerdlow, Bob Schlenker, Ian Crane, and the late Rik Clay. The commentary ranges from the insightful to the paranoid to the deeply paranoid to the unintentionally hilarious.
Of course much of it revolves around the conspiracy theory du jour, which is to say that the Illuminati is preparing us for a false flag event and/or alien invasion so that our reptilian overlords will be better able to enslave us or kill and eat us... or... it's not entirely clear. Where that argument is the strongest lies in the draconian security measures. London is being fully militarized for this event. But then, Great Britain has been morphing into a police state for a while now -- more than the US, even.
William Henry sees a kinder, gentler mega-ritual. He slices right through those convolutions to the underlying symbolism and associates it more with expanding human consciousness than a diabolical scheme to keep us as a slave race. The cardinal symbols he references: the tree, the serpent, the rainbow, and the wormhole. Well, the tree and the serpent are two of my favorites but that's hardly news. But in a striking synchronicity -- one that I'm not at liberty to discuss -- Henry also mentions Glastonbury Tor which they are also apparently working into this year's Olympic motif. This got me to thinking. Something I have never really contemplated is the possible connection between Glastonbury Tor -- and tors more generally -- with the mythical "primordial mound." So I did a bit of googling and found that, yes, this is so. I found the following in a book called The Shining Ones.
The name 'Glastonbury' translates as 'glass borough'. It was known as 'the Isle of Glass' due to the calm, still, glass-like appearance of the waters or lake which once surrounded the town and its central mound, the Tor. The deeper significance of Glastonbury and its Tor also stems from two unusual springs, which are said to have emerged from a cave entrance under the Tor. One of these springs is known as the White Spring, as it contains mineral deposits which give it a milky-white appearance, and the other is known as the Red Spring is said to have a regenerative properties. Here we have yet another reference to the familiar theme of the red and white, but this time we see it in the real phenomena surrounding Glastonbury Tor -- which is said to have been a place of initiation for the pagans and Druids of the region in Celtic times.
In Glastonbury Tor, we have a 'primordial mound' surrounded by seven concentric rings or levels, which was once surrounded by water, and and upwelling vortex, along with two energy springs like the pingala and ida 'serpents' or nerve channels.
So, asked and answered. Here I'm talking about those basic geographical features more than Philip Gardiner's scholarship which I can't speak to. The form speaks for itself. And it's really interesting because it reflects so clearly this image I had in my head earlier of the primordial mound surrounded by concentric rings and a serpent. Again, the reason isn't important. But this, for the umpteenth time, is why I love William Henry. He keeps pointing to the things I see in my head and helping me contextualize them. His work is just very synchronous for me.
Another thing Henry mentions in this interview is the tower that Anish Kapoor designed for the games and its serpentine appearance. From Henry we learn that Kapoor compared it to, of all things, the Tower of Babel. Very exciting.
But when I googled up an image of this thing, it put me in mind of something else.
Yes, I recently saw The Avengers and Anish Kapoor's tower has that same platform thing jutting out of the front as Stark Tower. The angle is also similar. And seriously, can we talk about The Avengers?! That platform on the front of Stark Tower plays host to a tesseract which opens an interdimensional wormhole. Subtle. Seriously. You could have knocked me over with a feather.
William Henry and Chad Stuemke also present a lot of information on the symbolism. Both consider the possibility that there is malicious intent behind the use of these powerful archetypes to manipulate us all. But they are more inclined to the idea that the planners, artists, and architects are both consciously and unconsciously assembling the keys to ascension and presenting them to the public. And that's pretty much how I see it.
On the other hand, there's the perspective of Stewart Swerdlow and others that it's all part of a master plan make us bow to a false, probably reptilian, god. And I'm not saying that there isn't a cogent narrative to be assembled from the available facts that supports that, but as with so many conspiracy theories, it ascribes a level of coordinated genius that I have trouble imagining. Worse, it completely inverts the meaning of a lot of very powerful and beautiful symbolism. But mostly, it infers conscious, malicious intent from some very innocuous material. For instance, this is Swerdlow on astronomy:
In the last several months, almost every other day, there's been some kind of story on the news about outer space. For example they said that in our galaxy alone, there were three hundred to four hundred million earth-like planets. And they even said by 2014 we will discover a planet with life on it. So how would they present those figures unless they knew for sure?
Ummm… Because they estimate from the data they have? Something scientists do all the time? There's also a lot of wiggle room between three and four hundred million. Those are hardly precise figures. And Mr. Swerdlow clearly never got the memo on how press releases from the science industries work. All these agencies need to fight for funding, now more than ever, and making grandiose promises in sound-bite form is a big part of that process. And then the figures get revised as new data comes in and it either disappoints or exceeds expectations. That's how it works. What almost never happens is that a research body presents an estimate of time or quantity and hits it squarely on the head. "Sure" really doesn't enter into it. I can understand why Mr. Swerdlow would have the notion that scientific bodies speak in exact and irrefutable terms. We have a lot invested in thinking everything that comes out of the sciences is holy writ but it's a comfortable lie.
Swerdlow also ascribes a lot of significance to scientific speculation that life forms on other planets would likely be reptilian. What he doesn't seem to want to consider is that we're reptilian. We evolved from early reptiles and our first brain is the reptilian brain. Then comes the limbic or mamalian brain. And then comes the neo-cortex. Whether we call this the triune brain or ascribe to it some other, more fine-tuned theoretical construct, those three, fundamental components are most definitely in our skulls. These are the simple facts that even David Icke acknowledges. Icke also never said that all reptilians are evil -- only that there is a particular reptilian race that is responsible for interfering with human consciousness. So if you're going to be paranoid about reptilians, at least narrow it down to the right ones.
And then there's this nonsensical bit of dialog between Red Ice host Henrik Palmgren and Swerdlow regarding an "insider" Palmgren had hoped to get on the show.
Palmgren: He definitely mentioned again that the G4S, or the G-Force as I call them, who are behind the security of the Olympics are purposely looking for incompetent people and also the fact that he was told in some way that you as a worker in here or a security agent are going to be responsible for the evacuation of London or the biggest historical event in the history of London which is just an interesting little tidbit that I haven't heard him really expand more on that yet. But do you think they would tell actually the people involved in this in a subtle way like this if it really was true that they were planning something?
Swerdlow: Yeah, they have to because they have to -- the staff must be aware or expect something without maybe knowing exactly what it is. Because they need certain programmed responses from that staff that will enhance the entire event and make it look as if it's a natural event or something that happens suddenly and they didn't expect. Yes, the staff would have to be advised that some thing will happen.
So they have to be prepared to look surprised? Oh, but they can't really know that they've been prepared to look surprised. That'll really make'em look suprised! Ummm...
Everything Palmgren is describing is standard operational planning. You always have to plan as if the worst catastrophe possible will occur so that you're prepared to deal with it if the worst happens. Why would an employee be told he'd be responsible for the largest evacuation in London's history? Um, because people from all over the world will be crammed into a not very large city in an age when we're all deeply paranoid about terrorism? This is the same kind of logic that says, if they're not planning war with such and such country, why are there battle plans made up? Because there are battle plans made up and ready for every conceivable contingency! It's called military preparedness. There are battle plans being made up and revised constantly for countries most of us have never even heard and will probably never in a million years go to war with. To paraphrase Stephen Colbert, battle plans cause wars the same way fire extinguishers cause fires. And the same goes for evacuation plans. What really would be concerning is if they didn't have security preparing fully for a massive evacuation and "acting as if." The alternative is too horrible to contemplate.
So there are real leaps in logic and things that border on paranoid delusion in this show. There are also some genuinely concerning things -- the kind that make you go, whaaa? But mostly there's William Henry and Chad Stuemke separating the wheat from the chaff and explaining some very exciting, symbolic imagery.
I guess it's all in how you look at it. For instance, when I read the William Blake poem alluded to in the opening ceremony, I see a brilliant piece of esoteric literature hinting at ascension. And consciously or unconsciously those very alchemical themes are woven seamlessly into the thematic language of the event. For example, here's an analysis of one part of the poem:
The poem Jerusalem (1804), by William Blake, is actually an excerpt from the preface to one of his “prophetic books", Milton.
Jerusalem is here the symbolic residence of a humanity freed of the inter-related chains of commerce, British imperialism, and war. Blake's "mental fight" is directed against these chains. In his Blake: Prophet Against Empire, David Erdman tells us that Blake’s "dark, Satanic Mills" are "mills that produce dark metal, iron and steel, for diabolic purposes . . . . London . . . was a war arsenal and the hub of the machinery of war, and Blake uses the symbol in that sense.”
As I pointed out here, there is a sequence in one of the promos of golden, molten metal being poured to make drab steel which is then transformed by the rainbow into living, golden beings. Pure alchemy.
Others see reference to that poem as a clue to an evil "zionist" conspiracy to take over the world. Eh. You say tomato...
|And did those feet in ancient time |
Walk upon England's mountains green?
And was the holy Lamb of God
On England's pleasant pastures seen?
And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark Satanic Mills?
Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my charriot of fire!
I will not cease from mental fight,
Nor shall my sword sleep in my hand
Till we have built Jerusalem
In England's green and pleasant land.
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