When this story first emerged we covered it several times, but it's worth another look for several reasons. First of all, it reveals just how deep and widespread the imagery of satanic worship and rituals have become in society, and in this case for no apparent reason (although obviously there are reasons for this). Secondly, a lot of money was put into this 'performance', and that fact makes you wonder who is behind this and why? Thirdly, it reveals what appears to be preparations for something yet to come, as if we are being forewarned in some way. Perhaps most importantly, it reveals how this kind of darkness is being embraced as we approach the end of the age, and should serve as a warning for all of us:
In the last entry we introduced the twin tunnels of the Gotthard Base Tunnel and the deeply occult ceremony held in Switzerland not far from CERN. In this entry 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 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 man (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.
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:
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):