Part 26 - Celestial Stargates - The Black Magick Baptist

Series Links: Celestial Stargates

In Part 15, I called attention to the appearance of the character we recognize as Osama Bin Laden in a stargate sequence of the viral Occult video, “I, pet goat II.” I wrote that he plays a dual role, and in this post I'm going to decode that sequence to illustrate how he is modeling the Pope as the High Priest, anointing the messianic lawless one as Horus transits the Silver Gate. This prophetic dramatization echoes one from Beijing in 2008 but goes beyond it to picture the celestial sign that the Bible suggests will mark the event - on the right day of the right year and even at precisely the right time of day! On this symbolic layer, I, pet goat II even references the attending dynamic that very few understand, from the deeply hidden Romans 11. It will take some effort to provide a proper lead in, so I expect the detailing of the celestial sign and referencing of Romans 11 will probably follow in the next post.

This is December, a time of the year when celestial signs are brought to our attention because of the traditions of Christmas and the season's reflection upon the story of the Magi with the appearance of the so-called Star of Bethlehem. This post addresses a related scenario, and this presentation should help you put some things together. If you're not able to follow this presentation point for point it may be due to your lacking one or more of several kinds of foundations. I recommend reviewing Parts 2-4, 12, 13 and 15 of this series in conjunction with this study. Those posts were very much done in preparation for this one, as I attempted to convey in anticipation. I'm going to recommend some key collateral studies at the end of this post. It's cold in my room as I begin to compose this work, but the shivers I'm feeling must be attributed to something else altogether.

The video is still being presented on the Heliofant.com home page. What I'm going to focus on is the same segment from Part 12, spanning from about 1:50 to 3 minutes in.



Through a looping and layering of vignettes, the viral video deftly illustrates the subject of several passages of scripture that have been given frequent attention on this blog, what I generally describe in terms of the revealing of the lawless one. A perspective that has been pretty well developed in this series is how the way is being prepared through black magick ritual for Horus to make entrance into this realm through the ancient celestial Silver Gate. These things are artfully brought together for us in this segment of “I, pet goat II” as the singular agent appointed for the task performs the invocation ceremony on the appointed day.

Revelation 13 describes two beasts. The one that the Apostle John saw coming up out of the sea is the messianic pretender. When the dragon gives him his power and his throne and great authority, it will resemble a pattern established on Yom Kippur in 29 AD, when the Lamb of God came to where John was baptizing in the Jordan. A counterfeit must resemble a genuine in convincing ways. John was baptizing according to appointment as the genuine High Priest of Israel, bearing both Levitical/Aaronic credentialing and Melchizedek qualification. A counterpart to John must be ordained for the baptizing of the counterpart to the Lamb of God. Baptism's very purpose is to reveal identity, and the ceremonial death and resurrection in the Jordan served that purpose well, as the Bible redundantly testifies. The words “Christ” and “Messiah” mean, “anointed,” in the Greek and Hebrew, and it was then and there that the only begotten son of the Father was anointed, haMashiach. There was evidence of the holy spirit descending upon him visibly like a dove, and an audible voice from heaven giving affirming testimony. As well, celestial signs attended the event. This is all documented in the recommended studies.

What is coming in 2015 is based on that pattern, with some very notable differences, and this is what's modeled for us in stylized ritual fashion by the makers of “I, pet goat II.” The Osama Bin Laden character is the appointed High Priest. The Messiah is played by several characters in this sequence beginning with the costumed leaper and including the messiah in the boat with Anubis and the youth with his head broken open. Observe the time, Noon. Although the setting is very is dark, we know it is day time because the school scene was during the day and so was the destruction of the Twin Towers, so 12:00 is not Midnight. You'll soon see why that matters. Some might want to link this to the Midnight Cry, but that doesn't play on this symbolic level.

The costumed character who leaps off the pillar of ice wears a star on his chest to identify him with an angel. On his head we see what vaguely resembles a crown and a horn and a sword, perhaps buried in his head up to the hilt. It looks bloody, and so does the side of his head. He wears the Greek drama mask representing Tragedy. “I saw one of his heads as if it had been slain”

1 And the dragon stood on the sand of the seashore. Then I saw a beast coming up out of the sea, having ten horns and seven heads, and on his horns were ten diadems, and on his heads were blasphemous names. 2 And the beast which I saw was like a leopard, and his feet were like those of a bear, and his mouth like the mouth of a lion. And the dragon gave him his power and his throne and great authority. 3 I saw one of his heads as if it had been slain, and his fatal wound was healed. And the whole earth was amazed and followed after the beast; 4 they worshiped the dragon because he gave his authority to the beast; and they worshiped the beast, saying, “Who is like the beast, and who is able to wage war with him?” ~ Revelation 13:1-4

The leaper is costumed and his leap is choreographed. This activity is theatrical, scripted and staged so that when his fatal wound is healed, the whole world will be amazed and follow after the beast, and worship the dragon and the beast. The baptism is pictured as the leaper goes into the water, which represents death. The Silver Gate transit is pictured as he freefalls off the pillar that resembles the astrological glyph of Gemini. We see him next in another guise, as the messiah in a trance, standing in the Anubis boat as it glides through the mist as in the state of death in the underworld. He is now in the sea, so to speak, and he is the beast John sees coming up out of the sea. This requires the participation of the baptizer, who we are shown next in sequence.

11 Then I saw another beast coming up out of the earth; and he had two horns like a lamb and he spoke as a dragon. 12 He exercises all the authority of the first beast in his presence. And he makes the earth and those who dwell in it to worship the first beast, whose fatal wound was healed. 13 He performs great signs, so that he even makes fire come down out of heaven to the earth in the presence of men. ~ Revelation 13:11-13

When we first see the High Priest we're approaching from above. He stands near the point of a promontory, with guards arrayed behind him. He has come up out of the earth. A light shines down from above to spotlight him and what is very near to him. The beast must be raised out of the sea, which in baptism symbolism is the bringing forth of new life out of death, so we watch him performing the raising ceremony.

It is a black magick ritual for the opening of the stargate that will finally bring forth Horus into concrete manifestation, incarnating in a body of enhanced flesh. And so we see the black angel wings, because this magician is also a beast. The Silver Gate is identified by the appearance of the moon in the opening in the sky, and the way the crescent moon resembles the horns of Taurus with the disk between them like the disk of the horned crown of Isis. Two identical guards with pointy star-like heads appear below as the Twins of Gemini, who are identified with the opening in the sky by the little pointing clouds.

This beast has two horns like a lamb, a symbol of the authority of the Papal mitre. The guard that attends the Pope is the Vatican Swiss Guard, which has long been his security detail. Instead of wearing their conventional joker/clown-like uniform we see them looking like brown cones (delta shape) of poop, wearing power cone hats like witches and olive colored blindfolds. The eyes are thus hidden, and with the other clues (Sodomite Gateway) we see the Swiss Guard very correctly as Horus Eye illuminated psi powered and weaponized Delta force agents. Fritz Springmeier and others report how that many Illuminati slaves have been programmed specially to serve as guards in that pivotal day and hour.

Another Horus Eye symbol appears overhead in this scene. The moon has a pupil to suggest the all seeing eye looking down from heaven, overseeing the baptism. This represents the active presence of the ancient dragon, who stages and sponsors the activity. This and other elements match the scene to the historical genuine that is being counterfeited.

9 In those days Jesus came from Nazareth in Galilee and was baptized by John in the Jordan. 10 Immediately coming up out of the water, He saw the heavens opening, and the Spirit like a dove descending upon Him; 11 and a voice came out of the heavens: “You are My beloved Son, in You I am well-pleased.” ~ Mark 1:9-11

Instead of hearing the voice give a testimony we are shown the all seeing Eye of “Providence,” silently witnessing. We see the heavens opened but no one is yet seen emerging from the water. That will follow, detached from this scene for the sake of obfuscation. We do see a dove, cleverly obfuscated, of course. That's the large form we see in the air as we descend in our view of the scene and zoom on the Pope and his Vatican Guard. It is the unholy spirit, which is the substance of anointing.

That this is a dove finds support in our experience of what is known as a bird's eye view. Do you see two bird heads embedded in the promontory, at upper right? One of them appears as an eye of the head that is the promontory itself (which is rather canine in appearance, like Anubis), strengthening the imagery of the bird's eye view.

I believe the bird head imagery also suggests the hidden presence of Horus, in his falcon or bird of prey form, but principally, I believe the canine and bird forms support the identity of the Papal baptizer as that one who facilitates Horus, the agent I regularly identify as Hermes. This is an identity of the beast seen coming out of the earth, who facilitates the coming of the lawless one and his worship, thereafter. We see him standing with his guard wearing camouflage as the agent whose true nature and identity is concealed, facilitating the emergence of Horus from the Duat. The canine head promontory he stands upon is that Dog Star Anubis form, and the bird heads visually link to Thoth (ibis head) amd the winged helmeted or staffed Mercury or Hermanubis. The statue of Hermanubis pictured here is on display at a Vatican Museum. The idol wears a distinctive Silver Gate style crown, which is just what we see in the opened heavens above the Papal False prophet and Vatican Guard!

Although none of the scriptural accounts describe a spotlight shining down upon the principal action of the scene, this is what we see in the Pet Goat scene. The reason I'm calling attention to this feature is because this focused illumination was painted by Aert De Gelder in “The Baptism Of Christ.” Some believe the radiating disk pictures a UFO, an alien presence, and that's just what was presented to us during another Occult performance in 2008, where the headlights of a bus illuminated the scene of the baptism.

During the closing ceremony of the Olympics in Beijing , the 8 minute long London Ceremony provided us with theatrical vignettes where the Pope played a supporting role. He was modeled by a crossing guard, a lollipop lady. (See Olympic Ceremony Symbolism - Part Three (The Dragon Seed Baptism)) She played an angel and the Pope, just as we see the Osama character in the role of the Papal High Priest and of an angel, with black wings. He is as a crossing guard, with his underling guards, in the Pet Goat version.

The Pet Goat version of the Papal High Priest pictures him wearing his turban, just like the High Priest of Israel wore. In Mark 1:6 we're told John the Baptist was clothed with camel's hair, which some claim was the garment of a prophet. Because the camel is sometimes a biblical metaphor for an angel, this garment suggests the righteous and holy nature of the greatest prophet among men, ordained for a historic transition. John's diet of locusts and honey can be linked to angelic beings, which supports his special preparation as a priest according to a Melchizedek qualification. I believe the Osama character's camo fatigues and black wings is their version, because Satan himself masquerades as an angel of light, according to 2 Corinthians 11:14. John had the badge of a genuine prophet, it may be said. The Pet Goat version wears the badge of the CIA, which decodes as Horus, concealed behind a shield bearing the Blazing Star of Sirius that must be identified ultimately as Lucifer.

To be continued, Lord willing.

Recommended collateral studies:

• Baptism - The Prophecy
• Part 6 - Pope Francis - Branded with a Celestial Sign Heralding Amaru's Return?
• Blood Red Moons and the One Who Left with a Bag of Money
• What Was it That is Called the Star of Bethlehem
• The Sign for the Bride - 1 of 2
• When Will the Lawless One be Revealed? - The Sign for the Bride - 2 of 2
• When Jesus was Baptized - The Celestial Signs
• The Twenty-First Chapter of John
• Series Links: To Number Our Days Aright

Part 25 - Celestial Stargates - The Tower of Babel having "his top with the heavens"

Series Links: Celestial Stargates

So far in this series, several models of beings transiting the ancient celestial Golden and Silver Gates have been put on exhibit. This is not being done just to simply show how clever the Devil is, who can conceal these things in our midst. That is an important observation, of course, because we don't want to underestimate our Adversary. If you are able to perceive the things I'm describing, the accurate and incredibly redundant witnesses validating what the Bible says about our world, you should be able to acknowledge that this modeling is evidence of a supernatural reality, a spiritual working underlying it that is sponsored by the gods of old. We are witnesses of that potent and deadly pharmakeia of Revelation 18:23 and the delusion of 2 Thessalonians 2:9-11 as those who are being drawn out of it to now see it from an increasing distance. If we desire to be freed from the influence, that's good, but far better than that is to desire to be completely transformed by The Truth, who makes men free indeed, the Lord Y'shua, and to be found worthy of Him at His coming for His Bride.

What is intended by the Adversary's immense scale of effort is actually being accomplished, with building momentum. What has been denied him in the past will largely be permitted. The builders of the Tower of Babel knew what they wanted and knew how to get it, and while that effort was thwarted, what is now nearing completion is spread across the globe. It's hard for most of us to comprehend just how near to storming heaven and seizing control they came, now so long ago.

4 They said, “Come, let us build for ourselves a city, and a tower whose top will reach into heaven, and let us make for ourselves a name, otherwise we will be scattered abroad over the face of the whole earth.” 5 The Lord came down to see the city and the tower which the sons of men had built. 6 The Lord said, “Behold, they are one people, and they all have the same language. And this is what they began to do, and now nothing which they purpose to do will be impossible for them. ~ Genesis 11:4-7

The ancients knew about stargates and ritual magick. They understood the power of mass ritual and all that I've been blogging about, the ritual sodomy, the representation of the heavens in the earth on diverse scales in divers kinds of symbols, static and dynamic.

Biblical scholar E. W. Bullinger had learned of these things in his diligent studies of the scriptures, making the following observation in Appendix 12 of the Companion Bible. “We see evidence of it as early as Genesis 11:4, where we read of the Tower of Babel having "his top with the heavens". There is nothing about the wrongly supplied italics "may reach unto". The words, doubtless, refer to the signs of the Zodiac, pictured at the top of the Tower, like the Zodiacs in the Temples of Denderah, and Esneh in Egypt.”

The tower wasn't built on a high mountain, as if to ascend to a literal height. It was built in the plain of Shinar, and what this tower was reaching into was a heavenly dimension.

Give consideration once again to what Joseph P. Farrell wrote in “The Giza Death Star.” “There exists an ancient body of writings, compiled in Greek in the Egyptian city of Alexandria in the early centuries of the Christian era, in which sky-ground dualisms form a predominant theme, linked in numerous convoluted ways to the issue of resurrection and immortality of the soul. These writings, "The Hermetic texts", were believed to have been the work of the ancient Egyptian god of wisdom Thoth (known to the Greeks as Hermes), who in one representative passage makes the following remark to his disciple Asclepius, "Do you not know, Asclepius, that Egypt is an image of heaven? Or to speak more exactly, in Egypt all the operations of the powers which rule and work in heaven have been transferred down to earth below?" The purpose to which these powers were harnessed, in the Hermetic view, was to facilitate the initiate's quest for immortality. ... Curiously, precisely such a goal - "a life of millions of years" - is spelled out in ancient Egyptian funerary texts which supposedly pre-date the Hermetic writings by thousands of years. In one of these texts, Shat Ent Am Duat - the Book of What is in the Duat - we find what appears to be an explicit instruction to the initiate to build a replica on the ground of a special area of the sky known as the "hidden circle of the duat": "Whosoever shall make an exact copy of these forms...and shall know it, shall be a spirit and well equipped both in heaven and earth, unfailingly, and regularly and eternally." ... Elsewhere in the same text we hear again of "the hidden circle in the Duat...in the body of the Nut (the sky)": "Whoever shall make a copy thereof...it shall act as a magical protector for him both in heaven and upon earth..."”

The ancient declaration about the making of a copy thereof can not be dismissed as illegitimate. The cryptic diagrams and references to the Golden and Silver Gates and to the sodomite gateway are themselves supernaturally influential as portals of demonic presence. Shortly after the warlock Aliester Crowley had done the ceremonial invocation in the King's Chamber of the Great Pyramid while on his honeymoon, his wife was led by Horus to an exhibit of ancient artifacts, where she pointed out the god who had manifested to her. He had an exact copy of that idol made for himself. You see a picture of that exhibit #666 here. Arched above is the body of Nut.

When pyramids are represented in the earth in particular ways, the heavenly form of Horus and his kingdom is acquiring a benefit (which is actually a curse) for its maker. This is why you see pyramids in every form in so many places, with sun wheels and such. This is why skyscrapers as towers and bell and clock towers and cathedrals and church spires and pyramid-like buildings are common. These are not merely a nod to classic design as tributes. These are no mere tokens as devoid of substance. They are instances of magick, engaging us in ritual. The Tower of Babel was literally a work of masons, constructed with brick and mortar, and this work is what Freemasons do today with their construction projects, together with every other agent who is inspired to produce works that are not being brought forth from the love of the true and sovereign Creator. He sent His only begotten son to destroy the works of the Devil.

The stargate opening ritual of Ring Around the Rosie was evident in Star Trek, and every replaying of that mass ritual bears more fruit. Even the very lightly and cryptically referenced versions of that nursery rhyme's performance in The Wizard of Oz and in The Hobbit brings forth fruit that is still adding to the sum, invoking Horus and his agents. Here's a similar ritual from another Star Trek series. (Thanks Linda) The Deep Space Nine - Key to open portal: magic hopscotch ritual What is being demonstrated is doorway opening ritual, which must be done correctly. See the sigils and pyramids represented in that ritual room and temple? Those responsible for Deep Space 9 evidently know the Occult practices opening dimensional gateways. Deep Space 9, the title of the series, makes reference to the Silver Gate, as Taurus is the 9th sign.



Does the game of Hopscotch have origins in the arcane traditions? Perhaps, perhaps not. I'm ignorant about the matter, beyond observing how game play is within the form of a compartmentalized Royal Arch (multidimensional) and how ritual behavior is encouraged.

A great work of the Devil is accomplished in the convincing of the masses that he simply doesn't exist. A great work of demons, likewise, and magicians. Another great work is performed in convincing the masses who believe in magic that there is good magic and bad magic. The way of liars is to lie. The lies of such as Obama are getting lots of attention today, but the exposure for most people simply encourages a futile rebellion. "Meet the new boss, same as the old boss." Soon, a new boss is going to finish the job every old boss started but left undone. This is the constant testimony, droning in our ears, saturating our world. Horus is coming through the dimensional portal and nothing can be done to deny him entry into our realm. He must come and rule for a season - until the end appointed. Do you know when that will be? By now, you should.

Part 24 - Celestial Stargates - Ring-a-round the Rosie

Series Links: Celestial Stargates

Picking up where we left off, The Wizard of Oz features another important stargate sequence that compares to what we saw modeled in the music video for “Insane” by A-Jax.

After Toto escapes the castle and finds the Lion, Scarecrow and Tin Man, they go to rescue Dorothy. The come to the tower chamber where Dorothy is being held prisoner, but the doors are locked.

Scarecrow: “Dorothy! Are you in there!”
Dorothy: “Yes. It's me. She's locked me in.”

At this point, the time-word drenched dialogue heard previously resumes. (Hey, she is the GreenWi[t]ch, right?) The reason for this NLP-fest is the same as before; a stargate transit is being staged.

Dorothy: “Hurry, please hurry. The hourglass is almost empty!”

The door is hacked open and Dorothy exits to greet them.

Scarecrow: “Hurry, we've got no time to lose.”

They rush down the stairs but their exit is blocked when the doors magically swing shut before them.

WWW (standing on the upper landing, laughing): “Going so soon? I wouldn't hear of it. Why, my little party's just beginning.”
Lion: “Trapped, trapped like mice, or rats.”

The guards advance gingerly toward them, pausing. Notice the giant idol of the sun god in his bird of prey guise. The candles on the chandelier are burning.

WWW “That's right. Don't hurt them right away. We'll let them think about it a little first.”

WWW cackles, then screeches loudly and tosses the hourglass over the railing. (How time flies when you're having fun! Hey, it's her little party, right?) It crashes to the floor below and bursts into flames with an explosion of dense smoke.

The scarecrow seizes the opportunity to put the tin woodsman's axe to the rope that holds the chandelier aloft, which immediately crashes down upon the guards assembled below. In the ensuing confusion, they scramble to find another exit.

Scarecrow announced, “We've got no time to lose.” Then, the Witch responds to that by letting fly the hourglass to be smashed on the floor below, losing time.

If the music video “Insane” is still fairly fresh in mind, you'll find the broken hourglass and falling candlesticks a familiar pairing. The modeling of the speed of light and breaking of the continuity of time, the involvement of a black magician in the setting of the underworld; these elements are common between them. Productions like Insane and the Wizard of Oz dramatize stargate transits because there is work to be done, and the very dedicated and proficient Occultists are hard after it until their objectives are met. The time is near when success will be achieved, due in no small part to the effectual ritual magick of such instruments as these mass entertainments.

I'm going to make a few observations about another scene and the black magick involved in the work.

Dorothy and her associates were unable to find another exit and were eventually trapped in another tower. The Witch confronts them.

WWW: “Well. Ring around the Rosie a pocket full of spears. Thought you'd be pretty foxy, didn't you? Well, the last to go will see the first three go before her. And her mangy little dog too.”

She lights her broom on fire from the torch. (Note: Three things and then a fourth. Also: FOX = 666 as F=6 and O=15 or 1+5=6 and X = 24 or 2+4=6)

WWW: “How about a little fire, scarecrow?”

She lights his left arm on fire and screeches with glee.

Scarecrow (waving his arms): “I'm burning!”

Dorothy grabs a bucket of water.

WWW: “Don't throw that water!”

Dorothy throws water on Scarecrow's burning arm, saving him and getting the witch wet.

WWW (shrieking loudly): “You cursed brat. Look what you've done. I'm melting, melting. Oh, what a world, what a world. Who would have thought a good little girl like you could destroy my beautiful wickedness. Oh! Look out. Look out. I'm going. Ohhhh.”

That was the end of the Wicked Witch of the West. Where was she going? How was she going? Like her sister, about whom it was sung, “Ding, dong, the witch is dead.” She was said to have gone below where the goblins go. When she says “Look out,” it's not a warning to those listening, to avoid some threat of danger, but rather a sign she is seeing something, not here in this realm but somewhere else as a portal to another dimension has opened to her perception.

The clues in the scene suggest a Golden Gate transit. She mentions spears, referencing the archer, Sagittarius, like when spears had been chucked at Toto while modeling the Golden Gate transit at the drawbridge. The element associated with that sign is fire, and that's what we saw when the Witch lit her broom from the torch and then lit the Scarecrow. The other sign flanking the Golden Gate is Scorpio, which is associated with water. That's what was thrown at the burning scarecrow, who was saved when the water met the fire. That, however is what made the Witch vanish into mist. Her last words were, “I'm going,” not, “I'm dying.” Did the water drown her in the river of time, as being flushed through the Golden Gate?

It's evident how those responsible for the Wizard of Oz know how to practice their elemental craft.

• The Witch of the East (Air) was destroyed by Air as a Dorothy Gale from Kansas, the “People of the South Wind,” arrived in a whirlwind.
• The Witch of the South (Fire) and her companions were threatened with destruction by Fire.
• The Witch of the West (Water) was destroyed by Water.

When the Witch confronts her intended victims with a nursery rhyme, the magicians who scripted the scene are spilling some beans, revealing how the familiar nursery rhyme and the practice associated with it is actually the performance of magick. We'll see this validated in an episode of the original Star Trek series. I'm going to give this some attention because it's actually a stargate opening ritual that is perfectly fitting in the context of the scene where the Witch disappeared through the misty portal. The collections of verse we consider nursery rhymes are rife with reference to witches, spells and curses, so there's nothing really unexpected when it comes to the nature of the working. I was raised with such as this while being convinced I was being raised in a Christian home in a Christian community. I really fell for that one, although I did have a sense that all was not quite right.

When the Witch repeated the nursery rhyme, she changed a word. Ring around the Rosie, a pocket full of spears. Her prey had been chased around and around by the guards with their spears, like how children circle around holding hands while chanting that old nursery rhyme. The last line of the rhyme is, “We all fall down,” and this is the fun part for the children as they drop hands and fall backward to the ground, laughing. What is actually being modeled is no laughing matter. Some suggest it derives from the time of the plague (England - 1665), but that fails to account for the esoteric meaning.

You can get some insight into it by watching an episode from the third season of original Star Trek series. It is streaming from the CBS website for free: Star Trek - "And the Children Shall Lead" You can read about it here: Star Trek - "And the Children Shall Lead" (memory-alpha wiki).

You'll see children playing the Ring Around the Rosie game, chanting and circling around Captain Kirk. You'll also see them perform another ritual, putting their hands together in the middle of a circle while chanting to summon an angel named Gorgan. "Hail, hail, fire and snow. Call the angel, we will go. Far away, for to see, friendly angel come to me." Their summoning by fire and snow represents two of the four Elements, fire and water. The Ring Around activity is just like the other circling and chanting, magic ritual. One is to summon their angel, the other is similar. We're not told this directly, but do they really need to?

The makers of Star Trek knew the Occult. Check out their episode titles. In the first season, there's one titled Space Seed that features genetically engineered superhumans. I wrote fairly recently about the character Kahn, whose name is an anagram of Ankh, the Egyptian life-giving instrument. He made his first appearance in that episode.

If you watch this episode where Ring Around the Rosie is featured, you'll probably understand why it's the 4th episode of season 3, stamping it with the numbers 3 and 4 and signaling the production of Horus. When the angel has the child coven hijack the crew and ship, he's bent on going to Marcos XII. Marcos ~ “mark us” as with the mark of the beast.

There are many variants of Ring around the Rosie. This is the one I learned.

Ring-a-round the rosie,
A pocket full of posies,
Ashes! Ashes!
We all fall down.

A common British version seems likely to me to be more faithful to its origin.

Ring-a-ring o' roses,
A pocket full of posies,
A-tishoo! A-tishoo!
We all fall down.

The third line is onomatopoeia, for sneezing. According to Wikipedia, “European and 19th-century versions of the rhyme suggest that this "fall" was not a literal falling down, but a curtsy or other form of bending movement that was common in other dramatic singing games.” These are clues that suggest a magic ritual.

Witches sometimes circle around and chant during rituals. Have you ever seen a May Pole ceremony? If you remember this post and the video from the BMA, you saw a ritual circling of a coven around Taylor Swift on a large table altar in the ritual room backstage. (Decoding Taylor Swift's "22" and the BMA Ritual Exposing the Theater of Witchcraft)

The secret of a rose is the thorns, which are the serpent tree heritage people. Consider the Ring-a-ring o' roses as a crown of thorns. Think about that in the messianic context. The thorn heritage people form rings, circling around for the raising energy in worship, for personal empowerment and for the casting of spells. Magic circles are cast and closed by rotating around a circle.

A posy is a small bunch of flowers or a single flower. However, the archaic definition is: “a brief motto or inscription, esp. one on a trinket or a ring.”

An ancient ring with an inscription quite possibly contributed to the inspiration of J. R. R. Tolkien, renowned author of The Hobbit and “The Lord of the Rings” trilogy. “The ring is believed to be linked to a curse tablet found separately at the site of a Roman temple dedicated to a god named Nodens in Gloucestershire, western England. The tablet says a man called Silvianus had lost a ring, and it asks Nodens to place a curse of ill health on Senicianus until he returned it to the temple.” (Ring that may have inspired Tolkien goes on show) See also The Hobbit ring that may have inspired Tolkien put on show.

I read the entire body of Tolkien's work when I was turning 23, during a month when my arrogant self was becoming quite convincingly humbled. The Lord was drawing me to Himself, and He used that body of work to convince me that there was a supernatural reality and substance to life and a presence that I could no longer deny.

Whether Tolkien might have been influenced by that cursed ring, or by Der Ring des Nibelungen of Germanic and Norse legend (which he steadfastly denied), or perhaps both, I cannot say.

Shortly after publishing this post, I was reviewing it with Aaron, who mentioned something that required this update. There's a key scene in The Hobbit where Bilbo finds the ring, the object of the entire quest, the "one ring to rule them all." His life depends upon winning a contest of riddles with the ring's long-time possessor, Gollum. His riddle: What have I got in my pocket? It was an unintended riddle, but it won him the contest. Here's a video clip of the scene. The Hobbit - A Riddle - What have I got in my pocket?

What Bilbo had in his pocket was the ring. The ring was magical and inscribed with elvish runes. He had a posy in his pocket that was the most important artifact. It had power to rule over the other rings of power, which were other posies. He therefore had a pocket full of posies. I believe Tolkien was demonstrating his understanding of the meaning of the nursery rhyme by that clever riddle.

Here's the picture where I photoshopped that ring into the image of the Olympic Rings logo that had been suspended from the Tower Bridge during the London Olympics in 2012.

The line of the children's verse naming a pocket full of posies makes far more sense as a pocket full of magical amulets or talismans with runes or other inscriptions than it does as a pocket full of flowers.

When a person sneezes we politely reply with a blessing. Why? Some say the practice derives from the belief that a sneeze causes the soul to escape the body through the nose, and that immediately invoking a blessing would stop the devil from claiming it. Others say evil spirits use the sneeze as an opportunity to enter a person's body, and the blessing is invoked to stop that from happening. Still others suggest that the heart momentarily stops during a sneeze and the blessing invoked welcomes the person back to life. Because the sneezing during the Ring around the Rosie activity isn't answered with the invocation of a blessing, whatever was thought to be countered thereby would result. Of the three things identified as a concern, the one I understand as being legitimate is the second, which suggests by the sneezing line of the verse that demonic possession is not only free to occur it is invited by the ritual chanting of the onomatopoeia.

“We all fall down.” Whatever that is, based upon the other lines, it can't be good. If it's a falling down as bowing or curtsying, it's a giving of honor to the demons invoked. It seems to me that the falling down is a falling into a trance state for the ritual, entering into that energetic realm where the witches raise the energy to cast their spell or accomplish whatever the intended work of that ritual might be.

This Pagan ritual is the opening of a stargate, a circling to generate the energetic vortex. Every casting of the magick circle is the opening of a portal from the underworld into ours.

When the Wicked Witch of the West said “Ring around the Rosie, a pocket full of spears,” she was spilling the beans about the practice of black magick. Her posies were no flowers but rather spears, runic talismans according to the kinds of things she had in her tower, magickal weapons. Aleister Crowley declared that bells can be magickal weapons, which are often inscribed. The Witch of the West signaled that she had opened the ritual to perform a sacrifice by fire in that round room, of Dorothy, her companions and dog, where the energy would be harvested properly and channeled for whatever her purpose happened to be. She wanted the ruby slippers. Remember what she had told Dorothy earlier? “Those slippers will never come off, as long as you're alive. But that's not what's worrying me. It's how to do it. These things must be done delicately or you hurt the spell.” Apparently, the spell was not going to be hurt now because it was being done delicately. By starting the nursery rhyme, allusion was made to the whole by that part. She signaled that the circle was cast, demons were invoked and the trance state was entered. She was finally going to get those ruby slippers!

The potent rituals of witchcraft and the opening of stargates is being done openly, in plain sight. We have been deceived about what things are and what they mean. Where we have been party to this, we are worthy of judgment. Call upon the Lord's forgiveness, if you are so convicted. Call upon His help, for protection, for further insight, for whatever He may ask. He is good!

Part 23 - Celestial Stargates - "I can't wait forever to get those shoes!"

Series Links: Celestial Stargates

There is more to be explored about how the time related aspects of the celestial stargates are being signaled.

I've been looking forward to reviewing more of what we're being shown through the appearance and dialogue of the Wicked Witch of the West in the classic Wizard of Oz. I'm assuming you're familiar with what I've already written.

Returning to the scene described in Part 13 - Celestial Stargates - Run Toto, Run!, Dorothy and Toto are being held captive in a tower of the Wicked Witch of the West's castle. The basket is on the pillar next to an hourglass, but the lid is not secure. Toto jumps out and escapes, modeling for us a transit of the Silver Gate and then the Golden Gate. I've given the pillar, the hourglass and the river some attention already but let's keep putting it together.

We hear the Witch command the flying monkey who has Toto in a basket, “Throw that basket in the river and drown him!” There's some profound symbolism in that! I previously linked the river to the celestial Eridanus, the decan of Taurus, as a Silver Gate reference. On the related theme of the Duat, the Witch is also making reference to the terrestrial river Nile. The carefully scripted scene's dialogue is dense with time words, and the centrality of the theme of time in this dramatic celestial gateway sequence has been well established. Something important is implied by the green Witch about the river of time that must not be overlooked, but I'm going to begin by introducing the river as the Nile.

This film's fundamental theme of ancient Egypt has been well established, with sun symbols and pyramids in abundance. The name, “Oz,” becomes “On” with a quarter turn of the name. Oz is also “the land down under,” the underworld Duat. The Witch rules Winkie Country, where the wink is a hidden Eye of Horus. In that context, a reference to a drowning in the river evokes the story of Osiris. Some accounts indicate that he was drowned in the Nile, and with his phallus that was lost to the fish/crocodile contributing to the fertility of that flooding ecosystem, the production of life out of death is easily the most important theme at hand, which makes this layer of symbolism pretty important. The meaning of the name, “Nile,” is “river,” so when the Witch says, “Throw that basket in the river,” we can make the direct substitution to render it, “Throw that basket in the Nile.” As for Toto, the word “dog” spelled backward is “god,” and the dog-as-god swap plays well here.

Because Toto represents the Dog Star, we can make another Nile connection in how the dark soil of the Nile valley is considered to be the reason for the color of the god Anubis, who navigates the underworld river.

When the basket is taken into account, which is what the Witch actually orders to be thrown in the river, allusion is made to another legend of the ancient Nile that involves an adopted son of a Pharaoh named Moses.

22 Then Pharaoh commanded all his people, saying, “Every son who is born you are to cast into the Nile, and every daughter you are to keep alive.” 2:1 Now a man from the house of Levi went and married a daughter of Levi. 2 The woman conceived and bore a son; and when she saw that he was beautiful, she hid him for three months. 3 But when she could hide him no longer, she got him a wicker basket and covered it over with tar and pitch. Then she put the child into it and set it among the reeds by the bank of the Nile. 4 His sister stood at a distance to find out what would happen to him. 5 The daughter of Pharaoh came down to bathe at the Nile, with her maidens walking alongside the Nile; and she saw the basket among the reeds and sent her maid, and she brought it to her. 6 When she opened it, she saw the child, and behold, the boy was crying. And she had pity on him and said, “This is one of the Hebrews’ children.” 7 Then his sister said to Pharaoh’s daughter, “Shall I go and call a nurse for you from the Hebrew women that she may nurse the child for you?” 8 Pharaoh’s daughter said to her, “Go ahead.” So the girl went and called the child’s mother. 9 Then Pharaoh’s daughter said to her, “Take this child away and nurse him for me and I will give you your wages.” So the woman took the child and nursed him. 10 The child grew, and she brought him to Pharaoh’s daughter and he became her son. And she named him Moses, and said, “Because I drew him out of the water.” ~ Exodus 1:22-2:10

The very naming of this child makes reference to the event alluded to by the Witch. Students of the arcane who worship Horus like those who were responsible for the production of the Wizard of Oz, come to know well the significant role Moses had in the history of Egypt. It was in the Exodus under his leadership that the wealth of Egypt was plundered and strength destroyed, as the armies of the Pharaoh were drowned in the Sea of Reeds. There are those who take it personally and they do hold a grudge. If you've been following this blog you may recall how Moses and Horus are linked by those on the left hand path through the esoteric solution to the 47th Problem of Euclid. Later in his life Moses met with the Creator on Mount Sinai, who became known to him as “I AM.” The Hebrew gematria of “Moses” and “I AM” is 345 and 543, which are the numbers of the basic 3.4.5 Pythagorean triple. These signal numbers are taken to represent the production of Horus through the union of Osiris and Isis. The production of Horus, as we've seen in numerous examples, is eagerly anticipated as manifesting in a coming through the Silver Gate to incarnate in the antichrist beast.

The theme of life proceeding through, or, out of death is evident in the account of Moses in the basket on the Nile, comparing somewhat to how it is in the Osiris story. This is where the stargate theme is involved, as spiritual life comes to a physical body. Baptism is a symbol of death and resurrection. Being dipped in the water identifies one with death. Coming up out of the water identifies one with the new life that follows after the death of this temporal flesh. In the historical action modeling this activity, Moses escaped death by exiting the basket, as did Toto, but it should be understood how the symbol involves passing through death to life. If you've become a student of “Beyond the Veil,” you probably recognized the phrase, “she hid him for three months,” as code, signaling us about a resurrection scenario in the context.

When we consider the context of ancient Egypt and identify the river as the Nile we can connect the dots to Osiris and Moses and discover the essential Horus plot. When we recognize how the river of time is being implicated and connect some more dots, the Witch's command to, “Throw that basket in the river and drown him” leads us to discover the end game, the very defeat of the Creator Himself. At this point, let's reassess the symbolism of the scene to identify the grander scenario.

Below, I'm going to repeat the scene as from Part 13. Words with meanings that involve time are upper-case again to call them to our attention. What I want you to see is how Dorothy's only concern is for her dog. She's not pleading for her own life or freedom. She only wants Toto back so that they are together. When Toto escapes, her only concern is that the dog gets away to safety. She's not expecting Toto to lead a rescue mission, even though that's how it ends up. The reason for this isn't just so we can see what an unselfish and caring girl she is. It plays on a symbolic level.

See Dorothy as a nice Christian girl in this allegory, innocent and unselfish and naive, prim and proper, looking like she is on her way to Sunday school. Her beloved d o g is her beloved G o d. This is the attachment the Witch threatens, Dorothy's connection with her God, and even that God Himself. This is where the symbol of the river of time factors in because the Adversary's plot intends to exploit time to win the ultimate victory. “Throw the basket in the river and drown him,” in the river of time.

WWW: “What a nice little dog.” (She snarls and stuffs Toto in the basket.) “And you my dear, what an UNEXPECTED pleasure. It's so kind of you to visit me in my LONELINESS.”
Dorothy: “What are you going to do with my dog? Give him back to me.”
WWW: “All in good TIME, my little pretty. All in good TIME.”
Dorothy: “Oh please give me back my dog.”
WWW: “Certainly, Certainly. WHEN you give me those slippers.”
Dorothy: “But the Good Witch of the North told me not to.”
WWW: “Very well.” (to the Flying Monkey) “Throw that basket in the river and drown him!”
Dorothy: “No - no - no! Here. You can have your OLD slippers, but give me back Toto.”
WWW: “That's a good little girl. I KNEW you'd see reason.”

The witch reaches for the ruby slippers but some kind of magical energetic discharge thwarts her effort.

Dorothy: “I'm sorry. I didn't do it. Can I still have my dog?”
WWW: “No! Fool that I am. I should have REMEMBERED. Those slippers will NEVER come off, as LONG as you're alive. But that's not what's worrying me. It's how to do it. These things must be done delicately or you hurt the spell.”

Toto jumps out of the basket, off the pillar and escapes through the open door.”

Dorothy: “Run, Toto, Run!”
WWW to the flying monkey: “Catch him you fool!”

Toto descends the stairs and runs to the edge of the raising drawbridge. He leaps down, across the moat, escaping down the path while the guards throw their spears behind.

Dorothy: “He got away. He got away!”
WWW: “Oh, which is more than you will. Drat you and your dog. You've been more trouble to me than you're worth, one way or another. But it'll SOON be over NOW.”

When you know the plot, with confidence, you see it modeled in so many ways and in so many contexts. When the Witch says, “what a nice little dog,” she's mocking Dorothy's God and exalting herself over Him.

The flying monkey sets the basket containing Toto on the pillar right behind the hourglass. The hourglass is a symbol of time itself, and the sands of time are as the river of time, flowing evenly from the future through the present and into the past. The basket is behind the hourglass, which is to say that the hourglass is superimposed over the basket. They are linked, one with the other. We don't see the dog, we see the basket. “Throw that basket in the river,” the river of time. The basket represents some kind of containment. As set upon the pillar, the stargate mechanism is in view.

In ritual magick, which this “entertainment” vehicle surely is, it only works if it's done as directed by the dark and fallen agencies, and we are assured of a high degree of correctness in this exalted Illuminati programming classic. Most would insist that I'm always reading into things what's not really there. If that works for you, fine, but those with eyes that see discover what really is there, thrust into the light of day as the spirit of holiness bears witness to the Lord's generous provision of insight into our Enemy's ways and means, and the greater presence and working of our Sovereign Lord, in Whom victory is.

Just before the Witch tells the flying monkey to throw the basket in the river she layers in some more symbolism, telling Dorothy, “Very well.” The witches who script the scene and decorate the set know their craft. A well has water, like the river has water. There's a contextual connection we make automatically, almost instantly, without the search for relevance to establish a context of meaning ever coming to our conscious minds. There's a huge crystal ball that is central to the set, and we are provided with demonstrations of a kind of remote viewing, a scrying function. We see and correlate these things subliminally, unconsciously or subconsciously. The still surface of the water in a well reflects like a mirror. Wells have long been used for scrying, for wishing, for divining. If you've ever seen Disney's Snow White and the Seven Dwarfs, you've seen a demonstration of divination by scrying in the magick mirror used by the wicked witch. She asks it, “Mirror, mirror, on the wall, who's the fairest of them all?” A demon appears in the mirror to give the answer she demanded. A “Very well” is such a device as that. “Veri” is Latin for “truth,” and witches do seem to like Latin. The witch consults the “Very well” to divine the truth, or at least whatever the lying demons are constrained to reveal. So, what does this have to do with stargates? The “veri-well” is just such a device. In another classic of mind-control literature, the well Alice fell down to get to Wonderland functioned like the looking glass she climbed through in another version.

Now, this is one of the key scenes that reveals why the ruby slippers are so important to the Witch. Following the last line of dialogue above, the Witch picks up the hourglass and turns it over to reset it. “Do you see that?, she screeches at Dorothy. “That's how much longer you've got to be alive. And it isn't long, my pretty. It isn't long. I can't wait forever to get those shoes.” She can't wait forever to get those shoes. There is a time limit set, you see, an age appointed, and this is related to the life span of Dorothy, which is to say, the Christian in this allegory where perhaps the most profound testimony is evident.

You see, the time for what is being ritualized in this drama is at hand. So, what are these ruby slippers to the Enemy of Christians and the God of Abraham, Isaac and Jacob? They are OLD slippers, which is to say, ancient artifacts. These are not desired by the Witch for sentimental reasons or to make a fashion statement, they represent essential objects sought for their ability to facilitate control over time for the managing of the stargates, toward the goal of containing God as a dog in a basket, to subsequently drown him in the river of time, clearing the Throne of the Most High for the usurper.

13 “You were in Eden, the garden of God; every precious stone was your covering: the ruby, the topaz and the diamond; the beryl, the onyx and the jasper; the lapis lazuli, the turquoise and the emerald; and the gold, the workmanship of your settings and sockets, was in you. On the day that you were created they were prepared. 14 “You were the anointed cherub who covers, and I placed you there. You were on the holy mountain of God; you walked in the midst of the stones of fire. ~ Ezekiel 28:13-14

The ruby or sardius is the first listed precious stone that was his covering, of the cherub who covers. I believe the ruby slippers represent the gems and abilities of his former condition. Once, that anointed cherub who covers walked in the midst of the stones of fire. “These boots are made for walkin',” as Nancy Sinatra observed in the old song, or slippers, as in this case.

15 “You were blameless in your ways from the day you were created until unrighteousness was found in you. 16 “By the abundance of your trade you were internally filled with violence, and you sinned; Therefore I have cast you as profane from the mountain of God. and I have destroyed you, O covering cherub, from the midst of the stones of fire. ~ Ezekiel 28:15-16

Do you see why the Witch wants the ruby slippers? The anointed cherub who covers wants to walk in the midst of the stones of fire, which represents a return to his former multidimensional existance. If you put this together with Isaiah 14, connecting the “king of Tyre” and “king of Babylon” with the agent behind them, you get a picture of what's behind the Wicked Witch of the West and her ruby slippers. They witness to ancient artifacts that are valuable for the wielding of control over time and the ascension to a throne and the assembling of the forces of Revelation 19:19.

If you're not seeing the stargate connection, give consideration to how the ruby or sardius is the first of 12 gemstones in the breastplate of the Hight Priest of Israel, who was required to wear it when entering the holy place.

15 “You shall make a breastpiece of judgment, the work of a skillful workman; like the work of the ephod you shall make it: of gold, of blue and purple and scarlet material and fine twisted linen you shall make it. 16 It shall be square and folded double, a span in length and a span in width. 17 You shall mount on it four rows of stones; the first row shall be a row of ruby, topaz and emerald; 18 and the second row a turquoise, a sapphire and a diamond; 19 and the third row a jacinth, an agate and an amethyst; 20 and the fourth row a beryl and an onyx and a jasper; they shall be set in gold filigree. 21 The stones shall be according to the names of the sons of Israel: twelve, according to their names; they shall be like the engravings of a seal, each according to his name for the twelve tribes. ... 29 Aaron shall carry the names of the sons of Israel in the breastpiece of judgment over his heart when he enters the holy place, for a memorial before the Lord continually. ~ Exodus 28:15-21, 29

See also, Exodus 39:10, Revelation 4:3 and 21:20 (the sixth, ruby). I've written at length about the bells on the hem of his garment (verses 33-35). They facilitate the meeting with the Most High himself in the Most Holy Place. The breastplate with the grid of gems was likewise a necessary part of the garment, his covering, and one might take a reference to the first of them as a reference to all. Time was another essential element in that event that can be described as a stargate opening because the scheduled appointment had to be kept at the right time of day on one day of the year, Yom Kippur.

On the subject of ruby slippers, why is it that Pope Benedict was always seen wearing bright red loafers? Hmmmmmm. Are they tokens of something else, perhaps stashed away in the Vatican archives? Have we seen the last of his official duties as a high priest of the sun cult? A Pope is soon going to baptize the beast, fulfilling the role as the counterpart to John the Baptist, who acted in that ministration as the legitimate High Priest of Israel. Will the Pope wear Aaron's breastplate and garments, or perhaps something worn by John, or both? That event will represent the opening of a stargate, and, it seems, the Silver Gate through which Horus will manifest, incarnate.

There is another scene in the Wizard of Oz that validates this identification of the ruby slippers as objects like the keys to the kingdom for the unlocking of stargates, one that really makes the link rather obvious. Ever since Dorothy discovered she wasn't in Kansas anymore, all she wanted was to return home. That's the point of her entire quest. At the end of the movie, she finally does return home, and the ruby slippers are the key. Her return is by way of the same Silver Gate whirlwind that brought her to the underworld of Oz. Her transit requires the use of the magickal ruby slippers and some magic words in a ritual where Dorothy is assisted by Glinda the Good Witch of the North. It's operative black magic that opens the stargate, with an ancient artifact.

Glinda engages Dorothy. “Are you ready now. Then close your eyes and tap your heels together three times. And think to yourself, “There's no place like home.”” Glinda gestures with her magic wand, circling it around behind Dorothy's head, and as Dorothy begins to follow Glinda's direction, a swirling vortex opens up as if the star on the wand was stirring the aether of space-time. The film makers enhance the scene with some special effects, superimposing her head and the shoes in what seems to suggest a pineal gland activation.

Here's a brief clip from the film showing the ritual returning Dorothy and Toto to Kansas. The Wizard of Oz - "There's No Place Like Home" Magic Spell

See Dorothy now in the role of the anointed cherub who covers, having acquired what the coveted ruby slippers represent.

Just before this clip begins, we see Dorothy miss her ride home with the Wizard, who ascended in the hot air balloon. That was another stargate transit scene, as just prior to that when Toto leaped out of the basket, followed by Dorothy climbing out after him. Familiar, yes? The Wizard was doing some sodomite gateway signaling in the midst of the scene with his top hat and cane, and because it represents another gateway transit I'm going to decode that here.

The usual sun symbols and pyramids appear, as throughout the entire film in the funnel (pyramid) on the head of the Tin Man and the row of Xs on the panels of the basket of the hot air balloon. The Wizard is seen here officially transferring his authority to the Tin Man, by virtue of his heart. We see the heart on the Tin Man's chest, and the heart is a symbol of ritual sodomy. The Wizard is holding his top hat in front of his body, which is another sodomy signal. He's gesturing with his cane (Two-ball cane - Tubal Cain) as his phallus, toward the Tin Man. The transfer of authority is flipped, from one perspective, because the sodomizing Wizard is stealing the victimized Tin Man's life and authority in the act. Yet, the ritual sodomy is opening the Tin Man's Horus Eye, granting him gnosis and illumination and giving him spiritual authority through the demonic installation as making entrance through the opened stargate. See the plus sign on the Wizard's basket? It is the symbol of the binding of the two in ritual sodomy and the sign of the Knights Templar and cross of the cult of the sun god. When his contraption is loosed from the mooring and he begins to ascend, as you see in this screenshot, he declares loudly, “This is a highly irregular procedure!” NLP. Irregularity alludes to the function of the bowels.

After that, the transdimensional rainbow bubble descends out of the sky and Glinda appears before Dorothy and her companions. That's at least the fourth stargate opening signaled in the sequence, if you're keeping count. Glinda spins up a special blend of truth and lies in a story about how Dorothy has always been able to return home, and goodbyes are warmly exchanged. It's Dorothy's turn to do the sodomite gateway signaling in the “moral of the story” scene, with her bow on her head (tie that binds), gingham dress (knowledge of good and evil) and the NLP in her declaration of lessons learned: “If I ever go looking for my heart's desire again I won't look any further than my own back yard.”

When the ritual is performed and Dorothy and Toto have traversed the Silver Gate, the allegory of the anointed cherub that covers finds him returned home to walking in the midst of the stones of fire.

An assessment of what it took for that to happen reveals how the unidentified Good Witch of the South had first subsumed the authority and power of the Wicked Witch of the East, by killing her and acquiring her prized ruby slippers. The ritual sacrifice transfers life from victim to victor. The quest then led her to subsume the authority and power of the Wicked Witch of the West by killing her and acquiring her broomstick. These objects are both powerful magickal stargate artifacts. The witch has been seen flying on the broom, right? Together with the Good Witch of the North and her magick wand, which is used to swirl open the vortex of the stargate, Dorothy and Toto are able to traverse the Silver Gate and ascend up out of Oz, the underworld, returning to our natural realm. This is the magick of the four Guardians of the magick circle and the black magick of ritual stargate opening.

With all that, there's still more dot connecting to be done in the lessons about time and stargates from this film.

I see the iron ring on the pillar in the Witch's tower as another time symbol. It resembles the Ouroboros. The imagery of entwined serpent dragons is already present in the spindles of the hourglass frame. The alchemical diagram of the Philosopher's Stone illustrates the dimensional containment of time itself as a circle. Such a feature as the iron ring on a pillar is obviously intended to function as a secure point of attachment. Since it's a holding cell for Dorothy with the look of a dungeon, let's connect the dots.

We are bound within time while we remain in these flesh bodies. The Bible indicates that we are bound as by two chains, by the law of sin and death. These bindings apply to this flesh life but yet that identifies the limit. We are bound in these flesh bodies to this temporal realm, as to the circle of time represented by the Ouroboros and that iron ring on the pillar. (If this language seems somewhat familiar, you've probably come to understand the awesome revelation of the esoteric Acts 12, where Peter was in prison, bound with two chains. (Beyond the Veil)) The ring is fixed to the pillar. It goes neither up nor down. Dorothy is not chained to the ring, having an out of body experience, which matches the symbols of being in the Castle that is accessed by way of a viaduct, and over the rainbow in Oz, the underworld.

Aaron Hermann noted how the film's theme of time suggests a connection between the green Witch and Greenwich, England, where the Prime Meridian establishes the world's standard of time. I believe that's valid, and I believe that observation is supported by the river and the castle pictured in this screenshot.

The river below looks like the Thames in London where it bends around the Isle of Dogs. Opposite that is Greenwich and the Royal Observatory, about where the Green-Witch's castle appears. That river is where the flying monkey would have thrown the basket, in the river of time. Thames ~ Times. It is the River Isis-Thames, the magickal river of time. The Witch's castle is as a counterfeit temple at the center of time, a counterfeit Zion.

Are we done yet? For now, but there's more to come, Lord willing!

Iran's Update to "Yes We Can" = Thank You Satan?

Iran's President Rouhani's Viral 'Yes We Can' Video

This is the video: Iran's President Rouhani's Viral 'Yes We Can' Video (2013)

This is the one it closely resembles: Yes We Can - Barack Obama Music Video (2008)

This is what's heard in Obama's: Obama - Yes We Can = Thank You Satan (Reverse Speech - 2008)

Soon, Iran and the US will enter into a conflict as a battle of Satans, and really, there will be no winners as judgment rolls out in the Earth, except those whose lives are genuinely hidden in Christ.

1 Therefore if you have been raised up with Christ, keep seeking the things above, where Christ is, seated at the right hand of God. 2 Set your mind on the things above, not on the things that are on earth. 3 For you have died and your life is hidden with Christ in God. 4 When Christ, who is our life, is revealed, then you also will be revealed with Him in glory. ~ Colossians 3:1-3

Part 22 - Celestial Stargates - The Hourglass, Wormhole, Orion, Pyramids and Light Speed Cones

In media presentations where celestial stargate transits are being illustrated, time keeping mechanisms like clocks and dialogue peppered with time words are familiar features. The hourglass symbol has some particularly profound implications, like the pendulum. These are worthy of further exploration.

The brightest and most easily recognized constellation resembles an hourglass in the sky. Orion. This sign identifies the celestial Silver Gate, so the hourglass symbol can well be used to represent the Silver Gate.

This constellation has also been identified as the celestial end of a bridging pillar, anchored to the Earth at the Giza pyramids. The three stars in the belt are represented on the earth by the Great Pyramid and the two others with it, as popularized by Robert Bauval. The hourglass contains the flowing sand from which derives the expression, “the sands of time.” I note that the hourglass of Orion above is, below, filled with sand in the desert of Giza.

Orion has long been identified with Osiris. The hourglass further presents the form of an X, which is the mark of the sun god. It should be noted that every hourglass can be traced around to form a mirrored pair of 3s, like the numeral 8, so there is an implicit Code 33. The infinity symbol may also be traced through it, aligned in a way that us usually perpendicular its most familiar orientation. Another notable hourglass figure is the analemma, which represents a path traced by the Sun and by the Moon from Earth as plotted at certain intervals.

The hourglass actually presents a diagrammatic image of a wormhole as the warping of spacetime.

The hourglass also resembles the opposing cones used in cosmology to represent past and future light speed world lines when illustrating Einsteinian relativity.

The hourglass and the classical image of the wormhole share the form of the core of a torus. The torus, as a homonym of Taurus, is, alongside the stick figure of Orion, another way the hourglass suggests the Silver Gate.

This book cover pictures a scene from The Time Tunnel, a TV series from 1966-67 (which I can still remember watching). The graphic on the floor is easily recognized as a stylized hourglass, and also the time cones of Einsteinian relativity. The funnel-like object is the opening of the stargate they called the Time Tunnel, which was used to transport people back and forth through time. The hourglasses presented in the show's intro sequences present the frame as two flanking pillars, stargate and perhaps more specifically, Silver Gate imagery.

The Pyramid book cover and title encodes a Silver Gate image in the clever positioning of the letters. They are stacked and shaped into a pyramid, with their own Pyramid publishing icon as the capstone. The three Ts align to signal a Triple Tau, the Masonic Royal Arch emblem, which is itself a dimensional portal symbol. Two letters E align for a Code 33 signal, which makes “The” (which is called out by being mixed case instead of upper-case) a complementary instance (the=20+8+5=33).

There is a capping of a smaller scale pyramid with the letter “e,” the 5th letter representing 5-Horus. The body is “M” (rebel lord beast - 13 - two pillars - Gemini) on a base of twin letters “N,” symbols of the Nachash and dimensional portals. These symbols have been given adequate exposure in previous posts to this blog, but it's good to be reminded to keep such things fresh in mind.

This image of the light speed cones superimposed upon the Great Pyramid can be found on many pages.

The great pyramid is being connected to Orion's hourglass belt and the light speed cones of relativity to suggest an unseen dimensional projection.

When NASA designed the Gemini project symbol they bowed the twin pillars of the astrological glyph inward. This bowing suggests the hourglass and wormhole and lends support to the interpretation of the two stars as angels transiting the Silver Gate.

An hourglass appears in the Harry Potter series of films in the context of signaling the Silver Gate. These scenes are from # 6 in the series, Harry Potter and the Half Blood Prince.

There is a professor named Horace (Horus!) who has a magickal hourglass, where time moves more quickly or slowly depending on how interesting he finds the conversation to be, and then it resets. What's pictured is mind control, and stargate control.

They are using the twin "sister" mechanisms to transport and storm the castle in the astronomy tower. The form of four pillars supporting one speak to me of the four winds of heaven, a multidimensional biblical construct, which I hope to address soon.


The hourglass is considered to have been in use since the 14th century, but earlier timers that used water (clepsydra) are thought by some to have been used by the ancient Egyptians. In those timing devices flowed the water of time, in a figure, or a river of time.

A Wikipedia entry makes some useful observations. “Unlike most other methods of measuring time, the hourglass concretely represents the present as being between the past and the future, and this has made it an enduring symbol of time itself. The hourglass, sometimes with the addition of metaphorical wings, is often depicted as a symbol that human existence is fleeting, and that the "sands of time" will run out for every human life. It was used thus on pirate flags, to strike fear into the hearts of the pirates' victims. In England, hourglasses were sometimes placed in coffins, and they have graced gravestones for centuries. The hourglass was also used in alchemy as a symbol for hour.” Wikipedia. It's an easy place to find facts that hint at the truth of things.

The expression "time flies" or flees, “tempus fugit,” matches the symbol of the winged hourglass. Because winged things indicate transdimensional capability, the wings enhance the hourglass as a stargate symbol. This figure is often seen on gravestones in conjunction with skulls and crossed bones, which provides us with redundant symbols for the sun god Horus as the antichrist beast, and, in that context, resurrection, as I've previously explored at length on this blog. Even without the wings, the hourglass presents the same symbol of resurrection in that context.

Sometimes the hourglass is reclined so that no sand is passing, which represents the sleep of death where there is no apparent passage of time.

Sometimes the symbol of an hourglass within an Ouroboros appears on a gravestone, with or without wings. The immortality and eternal life is thus pictured with both the river of time and the sands of time - and the Nachash life of Horus, resurrected out of Osiris.

The Latin expression, memento mori, which means, “remember that you will die,” is commonly associated with the symbol of skulls and bones in artwork, with or without the hourglass.
This is widely accepted as a reminder of how life may be short and therefore to be considered as precious, not really that unlike the expression of “carpe dium,” “seize the day.” The symbols ascribed to memento mori mean much more than that, in typical Occult fashion. They point to resurrection, and Horus, and in that context the transiting of a stargate is implicit. In ancient texts, Horus is linked with the eye of time. The pictographic story of hourglass - skull - crossed bones tells of death and resurrection, of the sun god kind. Search this blog for skull and crossbones or Jolly Roger to find more about this symbolism.

For many years, every ship navigating the high seas had at least one hourglass onboard. These were used for navigation (dead reckoning) and for timing the labor shifts, called watches. The hourglass appearing on pirate flags like those of Blackbeard, Black Bart and Emanuel Wayne speaks to me of the history of piracy and the Knights Templar. I believe “Templar” suggests not only the Temple and also time, that which is temporal. The Temple in Jerusalem is, as proposed and adequately demonstrated by David Flynn, a reference point for a center of time. (You can find a remarkable validation here, David Flynn - Gone on Ahead (UTAH Beach - Direct Hit!)) It is Zion, a version ruled over by the Dragon, enthroned in the incarnation of Horus, which the inheritors of the quest of the Templars hope to bring forth. By wielding control over time itself, they intend to leverage the stargates in fulfilling their ancient hopes, and a level of success will be granted.

More to follow, Lord willing!