In 2024, he performed his song Nu dressed only in underpants and painted blue in the opening ceremony for the Paris Olympic Games.[4]For the song Nu, see the French Wiki, it recently released.
Wine was a religious focus in the cult of Dionysus and was his earthly incarnation.[13] Wine could ease suffering, bring joy, and inspire divine madness.[14] Festivals of Dionysus included the performance of sacred dramas enacting his myths, the initial driving force behind the development of theatre in Western culture.[15] The cult of Dionysus is also a "cult of the souls"; his maenads feed the dead through blood-offerings, and he acts as a divine communicant between the living and the dead.[16] He is sometimes categorised as a dying-and-rising god.[17]3) The original article had several other pictures including:
Romans identified Bacchus with their own Liber Pater, the "Free Father" of the Liberalia festival, patron of viniculture, wine and male fertility, and guardian of the traditions, rituals and freedoms attached to coming of age and citizenship, but the Roman state treated independent, popular festivals of Bacchus (Bacchanalia) as subversive, partly because their free mixing of classes and genders transgressed traditional social and moral constraints. Celebration of the Bacchanalia was made a capital offence, except in the toned-down forms and greatly diminished congregations approved and supervised by the State. Festivals of Bacchus were merged with those of Liber and Dionysus.
8 And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.4) The Assassins Creed videogame has one edition, Assassin's Creed Unity, that is set in Paris at the time of the French revolution.
US tech company pulls Olympics ads after opening ceremony 'mockery of the Last Supper'See also:
A tech company swiftly dropped its Olympic advertising after drag queens and dancers performed an apparent parody of the Last Supper at the 2024 Paris opening ceremonies.
Mississippi-based telecommunications and technology company C Spire announced it cut ties with the games Saturday morning — several hours after the show that sparked outrage across the globe.
"We were shocked by the mockery of the Last Supper during the opening ceremonies of the Paris Olympics. C Spire will be pulling our advertising from the Olympics," the company posted on X.
C Spire declined to share with The Post what form of advertisements were pulled or how much they forked over to be part of the quadrennial world event.
Company President and CEO Suzy Hays said in a statement that "C Spire is supportive of our athletes who have worked so hard to be a part of the Olympics. However, we will not be a part of the offensive and unacceptable mockery of the Last Supper, which is why we're pulling our advertising from the Olympics."
The incendiary performance came at the top of an impromptu fashion show across the Debilyl Bridge with the Eiffel Tower and Seine in full view.
Three French drag queens and other ornately dressed dancers began the performance by standing in line at the base of the runway, which resembled a long table, in a scene that seemed to evoke Leonardo da Vinci's "The Last Supper."
At the center was a bedazzled woman with a large silver headdress that resembled a halo as depicted in paintings of Jesus. She smiled and made a heart shape with her hands as her peers stared down the camera before breaking out into a choreographed routine.
During a press conference Sunday, Thomas Jolly, the artistic director of the opening ceremony, defended the production as a symbol of "inclusion."
"Our subject was not to be subversive. We never wanted to be subversive. We wanted to talk about diversity. Diversity means being together," Jolly said. "We wanted to include everyone, as simple as that. In France, we have freedom of creation, artistic freedom. We are lucky in France to live in a free country. I didn't have any specific messages that I wanted to deliver. In France, we are republic, we have the right to love whom we want, we have the right not to be worshippers, we have a lot of rights in France, and this is what I wanted to convey."
Despite the explanation, condemnation came from religious conservatives.
Practicing Catholic Marion Maréchal took to X, saying: "To all the Christians of the world who are watching the #Paris2024 ceremony and felt insulted by this drag queen parody of the Last Supper, know that it is not France that is speaking but a left-wing minority ready for any provocation."
"... because decapitating Habsburgs and ridiculising central Christian events are really the FIRST two things that spring to mind when you think of #OlympicGames," Eduard Habsburg, Hungary's ambassador to the Vatican, posted on X, also referencing a scene depicting the beheading of Marie Antoinette.
Mississippi Gov. Tate Reeves — who did not initially condemn the performance — applauded C Spire's advertisement revocation.
"I am proud to see the private sector in Mississippi put their foot down," The Republican said on X. "God will not be mocked. C Spire drew a common-sense, appropriate line."
I briefly return to my last essay on the opening ceremony of the Olympic Games, particularly to the parody of Da Vinci's Last Supper. As you know, quite a few people found that parody blasphemous and perverse, an open manifestation of the decadence of globalist institutions. I revisit it here to draw attention to the mainstream reaction to the uproar. I find that reaction particularly interesting and typical.
Here's how it went: the mainstream media believed they could instantly dismiss the outrage over the alleged blasphemy. They made a quick call to the artistic director of the ceremony, who immediately revealed The Truth: the theater in question during the opening ceremony had nothing to do with The Last Supper. It represented a pagan Feast of the Gods. They were done. The fake news spreaders on X and other conspiracy theory sites were debunked once again.
The army of fact-checkers, digital first responders, and other zealous supporters of the globalist ideology sprang into action. They posted references to the artistic director's words under claims about The Last Supper and even added Bellini's painting, The Feast of the Gods, here and there. This way, everyone could see with their own eyes which painting it was actually about. The only slightly odd thing - which surely the great Ambassadors of Truth of globalism also noticed - was that Bellini's painting didn't really resemble the grotesque theater staged in Paris. But who cares, the artistic director had spoken, oracle of Truth, no more reason to doubt: the entire outrage was based on delusion and illusion.
Firstly: the painting alluded to was not Bellini's The Feast of the Gods, but rather The Feast of the Olympian Gods by Jan van Bijlert. That painting does align in composition with the staging at the Paris ceremony. One might say: what's the fuss, does it matter which painting it was? It wasn't about The Last Supper, so the theater isn't mocking Christianity.
Of course, it matters. Simply because: Jan van Bijlert painted his Feast of the Olympian Gods around 1635, about a hundred and fifty years after Da Vinci painted The Last Supper. And Van Bijlert's painting is clearly a pagan variant of Da Vinci's painting. In other words: whether the opening ceremony of the Olympic Games directly mocked Da Vinci's Last Supper or did so through a parodic imitation of Van Bijlert's painting, it doesn't matter, what happened at the opening ceremony was indeed mocking The Last Supper, and thus ethical and religious principles, particularly Christianity. Period.
The most remarkable thing, above all, is that the fact-checkers and woke enthusiasts indeed did not see that it was about the Last Supper. They even mocked those who did see it, claiming they were lost in illusions and delusions. The more someone is gripped by totalitarian thinking, the more he accuses those who think differently of madness. In itself, it remains one of the most remarkable effects of the phenomenon of mass formation: the enormous narrowing of perspective accompanied by a radical blindness to anything that does not align with one's own fanatical beliefs (and the aggressive attack of it).
It is not that the representatives of the dominant narrative are the only ones who fall prey to this. Fanatical conspiracy thinking essentially suffers from a similar problem. Those who break free from the grip of the dominant narrative, in a sense, wander unprotected in the world of the Real and often seek refuge in another illusion, or at the very least, another narrative that irresponsibly reduces reality to a simplistic story.
And I repeat: it's not about whether there should be no sexual freedom in society or whether it should be forbidden to mock religious tenets, beliefs, or views. Every person has the right to a space where they can work through the peculiarities of their sexuality on their own authority and responsibility, if they so wish. And although I personally find mocking something that another person holds sacred tasteless, I do not think it should be forbidden.
What it is about, however, is that globalist institutions use symbolism, as seen at the opening ceremony of the Olympics and the Eurovision Song Contest, to situate their essence in mockery and perversion. That is precisely the function of a ceremony of a major social event: it represents what the essence of a society is, it represents the principles that support the social system. And that is certainly a good reason to protest and refuse to participate in the globalist ideology. More so: those who fail to protest, neglect an ethical duty.
Back to the mainstream reaction and the legion of globalist foot soldiers. They missed the mark completely. We can conclude that from the above argument. And we can add the reaction of the producers of the opening ceremony. They confirmed in an official statement, contradicting the artistic director's claims, that the particular part of the ceremony indeed parodied The Last Supper. I would say: we can come to a conclusion on this matter. When it looks like a duck, swims like a duck, and quacks like a duck, then it is probably a duck.
[...]
"It's not something that happened by accident (...)Those people wanted to destroy. They destroyed various mission buildings several days ago, they threatened the religious community, which was there, and which had to be evacuated. And so, this is deeply shocking. When young people have never been explained the rules of society and the common good, they can do anything. Some young rioters even said it's just for the sake of going crazy. This means they don't see the harm, ... but at the same time it is serious and particularly on the part of those who used the naivety of these young people."
Comment: This is just the latest seemingly random, particularly violent incident to occur in the UK in recent weeks. However, as has become increasingly frequent in recent years, not only do these appear to occur in clusters within one country, but they can often be found to occur across multiple countries, as seems to be the case now.
Whilst divisory media outlets and personalities would have us believe this is solely an issue of weaponised mass migration, a more discerning view might be that, instead, those people who are vulnerable, and volatile - of which illegal migrants indeed are included - are more liable to go off in the current climate.
These incidents are also occurring alongside a spate of other unusual and 'unprecedented' events, and it seems reasonable to suppose that if they're not directly related, then they're perhaps a symptom of a general malaise.
Note the following is just selection of incidents are just from the last few weeks:
- UK: Riot erupts after social services 'remove children' from house
- Israel: Mother murders 6-year-old son at home, attacks mall security guard with axe
- Major global IT outage leads to widespread disruptions
- UK's military horses bolt through London AGAIN, regiment source says frequency of spooking incidents is unprecedented
- UK: Riot erupts after social services 'remove children' from house
- Protesters clash with police at proposed migrant housing site in Dublin, people tear gassed and arrests made
As noted in the X post below, there were other incidents in the UK, not linked to above. However, what the user fails to mention is that the attack at the airport also involved a white, British police officer kicking and stamping on the head of one of the restrained and prostrate British-Muslim offenders.As for the riots mentioned, the Gypsy and Bangladeshi community has been in the area for half a century, if not more, and an escalation to such rioting is rare, if unheard of.
Further, not noted in the post, over in Dublin, a protest against a migrant encampment became particularly intense, and those involved in the righteous furor were white citizens.
And so whilst weaponised mass migration is indeed a serious threat - it's weaponised - to reduce what's occurring down to solely a migrant problem would be to miss the much more significant picture: that powerful groups are involved in an overall strategy of impoverishment; divide and conquer; and chaos creation; of which mass migration is but one method of attack.
Updates 31 July 2024
The three slain children have been named. They were girls aged 6, 7 and 9.
Yesterday, at a vigil for the girls in the city of Southport, which is near Liverpool, another lunatic was arrested on approach to the vigil, wearing a balaclava and carrying a knife:
When it became apparent to the large crowd that the man arrested was a Muslim, they rioted:
Then, incredibly, in Southend, near London, machete-wielding gangbangers attacked each other and caused panic in the seaside town:
The manufactured 'clash of civilizations' continues apace, and in lockstep with Israel's plan for Armageddon.