Hello, and welcome to video number 39B in this two part series on the Jesuit Vatican
Shadow Empire that rules the world of art and culture today, From the Shadows.
Once again, it is pertinent to repeat here that the Luciferian mindset produces corrupt
satanic art. And this is why artists who wish to achieve fame must submit to the Luciferian
cultural agenda for success. The Jesuit Vatican Masonic Business Empire controls the art world
just as it controls all other spheres of human endeavor.
The art system. The selection of artists and art. The arts are powerful and are manipulated
by the Jesuit controlled Masonic arts business system to suit the times, changing fashion
and perpetuate the ongoing immersion of societies into the Luciferian mind. It is about the
Luciferian mindset, which is opposed to anything that is godly and good.
Visual art, music, theater, dance, fashion and film are all molded to the satanic agenda
spewing out concepts and ideals that corrupt the hearts and minds of viewers and participants.
The Jesuits were quick to capitalize in the early 1600s on the Baroque aesthetic in theater,
music, art and fashion to seduce the European aristocracy with the pursuits of pleasure
and hedonistic lifestyles. Jesuit theater productions were renowned for their extravagance
and drew social elites, which the Jesuits then endeared themselves to by flattery with the
aim of infiltrating and gaining sway over wealthy influential families.
They still control the theater productions today, whether it is in London's West End,
or Broadway in New York, or Berlin, or Tokyo, or New York, wherever it may be.
Whatever city there is a major theater production going on, these are controlled by the Jesuits.
One of the biggest ones is the Wizard of Oz, which I have talked about in another video
or blog. The Wizard of Oz is being performed somewhere in the world any minute of the day,
as a theater production, as a film production, as a classroom presentation, as a movie presentation.
The Wizard of Oz is one of the biggest projects that the Jesuits maintain and keep rolling
from year to year, because it is full of Luciferian concepts.
The Jesuits realized very early that education and culture were the best modes for seducing
society with the temptations of worldly pleasures and ideological programming.
The Jesuits set up a center called the Collège Louis Le Grand for the ballet in Paris by
1650, very early in the piece, and in 1722 promoted a production of Vivaldi's oratorio
Adoration of the Magi in the Cathedral in Milan.
Here we go, really early in the piece, they are staging musical productions, ballet schools
and ballet productions. Why? To infiltrate and put into the public mind
Luciferian concepts and ideals. The Jesuits are masters at adopting new cultural
modes in order to move with the times, seducing societies everywhere with entertainment, and
so they took control of education and culture everywhere they went, blending the two together.
Thomas Lucas, a Jesuit states, this tradition, 150,000 plays performed across the world over
the first two centuries of Jesuit education and countless more since the 19th century
restoration of the order after its suppression, was about more than entertainment, fun and
games. Theater, dance and visual spectacle were not considered as ends in themselves
but were seen as useful educational tools that formed morally astute citizens and socially
competent persons who could comport themselves in public in a convincing way.
This quote is taken from the Spiritual Exercises in Art and dated 2015. So here we see the Jesuits
admitting themselves that they are using culture and education, they are mixing them together
in order to bring people into the Luciferian mindset through entertainment, through fun
and games. This is really important to understand because today you can talk to anybody on
the street, they will tell you about the movie stars, they will talk to you about the latest
movies, they will talk to you about the latest films and books, they know all of this but
they have no idea what is happening politically in the world essentially. No idea. But they
know everything about Hollywood and the stars. So people are being brainwashed with this
trivia while the Jesuits have distracted them away from what they are actually doing
in the world which is taking control of all governments, all finance, all business worldwide.
And that is the purpose of entertainment is to distract away from the truth. Contrary
to the Jesuits claim, they have in fact have been and are directly responsible for using
performance and entertainment to mold the public mind for the last five centuries. There
is little doubt in my mind the Jesuits were also behind the Shakespeare phenomena which
has had an enormous impact on social thinking although there are conflicting academic opinions
about it. Still today nobody knows who Shakespeare really was. There is virtually no information
about this character called Shakespeare. And I do believe personally that Shakespeare's
plays and poems were written by a Jesuit or a Roman Catholic author. It may even have
been a group effort. And Shakespeare is very influential in culture and education across
the world today. There are very few people who don't know at least two or three of Shakespeare's
plays or poems. Today we are watching the end result of 500 years of ever increasing
levels of exposure by people to Luciferian Jesuit art productions on TV, in theaters,
cinemas, art galleries, and on the internet. The last 50 years has seen an avalanche of
pop music, films, TV programs, blockbuster art festivals, exhibitions, and staged musical
productions. An absolute avalanche since the 50s and 60s. And today this is what most
people know. They don't know anything else. People are being saturated by the masonic
popular entertainment media machine. And it is a massive machine. Access to these productions
is easy and often on a 24-7 basis through cable TV or through the internet. Totally
unaware that they are being conditioned by Luciferian concepts and morality. Endless
hours are wasted by people watching and absorbing these production line fictions. Fiction. The
Jesuits are filling the world up and people's minds up with fictions so that they do not
know fact anymore. And it is very hard to discuss fact with people these days. Because
they will quickly dismiss your fact because their minds are full of fictions. They relate
more to fiction than fact. The Jesuit culture machine has done such an extraordinary job
of addicting the masses and killing human thinking that people no longer recognize right
from wrong. It is all relative to them and how they feel in the moment. TV in particular
has been a powerful weapon to brainwash and bend the public mind to the Jesuit controlled
political and media apparatus in all advanced countries. And now also in most underdeveloped
countries. You will find TV everywhere. TV even in the poorest homes around the world.
Richard Nixon stated and very presciently so in the 70's that, and I quote, the American
people don't believe anything until they see it on TV. Unquote. And that is so true. Most
people get their reality from TV. This statement now applies everywhere not just the USA as
TV culture has saturated most social groups worldwide with Luciferian concepts and morals.
We can see the end results in the rebellious behavior, violence, and sexual immorality
people everywhere are advocating and practicing at ever alarming levels. It's fragmenting
society folks. You can't have this debauchery and not have it destroy families and destroy
lives. You can't. And that is why society is fragmenting everywhere under this deluge
of pornography and entertainment. Do not be fooled dear listener. Modern art begins
under the influence and patronage of the Roman Catholic Church well before but especially
during the Quattrocento or 15th century which saw an explosion of religious art imbued with
Luciferian concepts and symbology. With the founding of the Jesuit order in 1540 control
of art began to shift and to slide under Jesuit control. And with the 1814 reinstatement of
the Jesuits by Pope Pius VII it is a fait accompli with the system of academic art under
management by Roman Catholic Jesuit co-adjuders or agents, participants. When the Roman Catholic
Church realized it couldn't retain direct control of artists and the production of art,
due to the freedoms birthed by the Protestant Reformation, they had to develop other plans
to usurp control over art production. The development of art from the Renaissance up
to 1814 is a mirror to the secret control exerted by the Roman Catholic Church on cultural
production in Europe. Roman Catholic artists such as Nicholas Poussin, Diego Velazquez,
Michelangelo Caravaggio, Peter Paul Rubens, and others began to stretch established conventions
in art, blending myth with biblical truths, forming a bridge toward the future artistic
annihilation of all that is sacred. After 1814, art under Jesuit control takes a significant
turn toward the distortion of the surface plane, especially in painting, and the abstraction
fragmentation of the figure. Art is being made to reflect Jesuit-sponsored ideology
and philosophy, in order to divide social opinion, alter mass perception, and foster
widespread acceptance of Luciferian androgyny, relativism, and the deification of man. These
are the objects. This is what the Jesuits are attempting to do to society. Today, papal
Masonic Jews oversee the art museum and gallery system worldwide on behalf of the Jesuits.
This is why everybody thinks it's the Jews. It's the Jews. The Jews are controlling everything.
No, they don't. They are papal employees. They don't control anything. They are managers
for the banking system, for the art system, for the business system. And also in Hollywood.
You've got Jews. They are managers only, under the Jesuits. It's the Jesuit Roman Catholic
system that controls it all. Art movements are invented and or co-opted to accomplish
the aims of the Jesuit cultural propaganda program against humanity. It is a propaganda
program. Centuries ago, art and art history were set on a slippery slope and have been
on a downhill trajectory under the Jesuits' watchful guidance. They want maximum impact
value on society for the untold billions of dollars they invest annually. Art movements
such as Impressionism, Post-Impressionism, Cubism, Expressionism, Dada, Surrealism, and
eventually also Pop and Post-Modernism were co-opted by the Jesuit management system because
the art produced is constructed as a mirror reflecting and projecting the Luciferian reality
of relativism into the minds of millions of viewers and thus shaping and transforming
public perception of reality. They are changing the public perception of reality, filling
it up with fictions. This was also done through the media and education, thus totally brainwashing
at least eight generations of people. Eight generations of people have now been saturated
with this Luciferian culture. This is why we are where we are today, living in an increasingly
godless and immoral social environment where everyone does what they want. This is the
fulfillment of Aleister Crowley's, Do what thou wilt shall be the whole of the law. This
is the central axiom for his satanic religion, Thelema. In other words, social anarchy with
complete disregard for law and order and for others. Total disregard. It's just about
me, me, me, me and doing what I want, doing what I want. Totally disregarding laws, rules
and social order and others. Trampling on other people to get what you want. This is
the central mindset today. The modern art market really begins in mid-nineteenth century
Paris, France. Paul Durand-Ruel, who lived between 1831 and 1922, is a key French Catholic
art dealer who took over the family business in 1865 and began his long association with
the Impressionists, eventually establishing offices in London and New York. Without him,
we may not have the art history we have. He is a key figure. Essentially, he collected
the artists who began to dissolve the appearance of the world with little dots of paint and
reality we see and know. Also very important are Paul Rosenberg, who lived between 1881
and 1959, and Daniel Henry Kahnweiler, who lived between 1884 and 1979. These are key
Jews who collected and promoted Picasso, Matisse, and Braque in the first decade of
the twentieth century, thus enabling first the social acceptance and then the adulation
of the full fragmentation distortion of the figure. And this came through Cubism in the
first part of the twentieth century. Now Ambroise Vollard, who lived between 1866 and 1939,
is another very important Catholic dealer who championed Cezanne, as well as Picasso
and Matisse. By 1910, Kandinsky, Mondrian, and Malevich are abstracting the picture surface
and the real, the real disappears, eventually pared down by Malevich to a black square.
The black cube is symbolic of the pagan worship of Saturn, which in turn represents Satan.
This is where art truly gets endowed with metaphysical properties. Both Kandinsky and
Mondrian were theosophists, and Malevich was also into a form of theosophical mysticism
based on the teachings of George Gurdjieff and P.D. Ospensky, also involving Eastern practices
like yoga. So the period between 1890 and 1920 sees an explosion of occult art directly
birthed out of Luciferian theosophical teaching. Many of the artists in the early modernist
period were occultists. They were practicing sorcery and black magic, fortune telling,
and this comes into their art, and that's why a lot of the art is dark. It's dark, and
it's full of pornography, eroticism, and Luciferian concepts. Some of it even outrightly worships
the devil.
Okay, the art market. Marta Kniep states, and I quote, if you thought that the internet
and new media had completely revolutionized our lives, you would be surprised about how
stable, or perhaps even old-fashioned, the structure of the art market is. She's talking
about the art market today. The current system originated more or less in 19th century France
when the new capitalistic economic model allowed artists to experiment freely with artistic
issues and subjects that were no longer dictated by the kings, the church, or aristocrats.
As a result, the artists got their long-desired, unlimited freedom to create whatever they
pleased. But at the same time, they also had the heavy burden of searching for a public
in buyers themselves. In this dramatic struggle for survival, they got support from the actors
who had never left them, art critics and art dealers. She further states, and I quote,
the Frenchman Paul-Durand Ruel, Ambroise Vollard, and Paris-based Daniel-Henry Kahnweiler,
whom I just mentioned previously, are considered to be the founding fathers of the professional
dealer. Their practice helped to formulate the unwritten rules of the profession, although
its structure did take over some elements of the old system of patronage. By neglecting
the dominant academic taste, they managed to spot new key artists, acknowledge their
importance, and convince collectors of their outstanding quality. Interestingly, it was
the dealers who recognized the relevance of artists, such as Claude Monet, Paul Cezanne,
and Vincent van Gogh, in the first place, before the academic world or museums did.
Unquote. My comment here is, of course they did. These rich collectors were Luciferian
Freemasons who recognized and personally lived out the ideals expressed in the art.
That of rebellion, idolatry, profanity, sexual promiscuity, and do what thou wilt. Total
rebellion against God's law.
Pierre Matisse, Henri Matisse's son, a Catholic, is also very important in taking progressive
French art to New York early in 1924. Independently and corporately, these five men, through aggressive
evangelization, created the modern art market model, determining the secretive artist-dealer-museum
relationship, which is still adhered to today. Same system as a hundred years ago. With or
without knowledge of Jesuit control, these men were directed in their decisions by the
Masonic system and cooperated with it for personal enrichment and helped establish the
current pyramid-like art world hierarchy.
Once the production of art had transitioned from dependency on wealthy private patronage
to the public commercial marketplace comprising gallery, museum, and collector, then the mechanism
for control of that market and art as a commodity was gradually put in place and transferred
to New York, the center of the Jesuit's American kingdom. During the 20th century, collectors
from Russia, France, Britain, and the USA jostled for ownership of the art touted as
valuable by the gallery system. The whole system is in lockdown mode, permitting only
artists that are vetted and accepted who are producing Luciferian art. In addition to the
five seminal Parisian collectors, other powerfully influential figures such as Paul Guillaume
of France, Sergei Shukin, Pavel Tretkyakov, and Eisen Morozov of Russia, Samuel Courtauld,
and Charles Saatchi of the UK, Albert Barnes, Isabella Stewart Gardner, Duncan Phillips,
Gertrude Vanderbilt Whitney, Solomon R. and Peggy Guggenheim, Clement Greenberg, and Leo
Castelli of the USA formed what is recognized as the world art market system today. Seemingly
self-regulated and intensely privately autonomous, it is strictly off limits to outside scrutiny
and to artists who don't fit into the Luciferian mold. Why? It's simply because art and culture
is a propaganda tool, and that system is controlled by the Jesuit Masonic hierarchy
which works undercover and is medieval in attitude. The Jesuits hate progress and freedom,
being totally fascistic in their approach to how they control systems, whether it be
political, religious, banking, business, education, or culture. However, they will use them to
advance their cause in establishing a worldwide technological autocracy. They use Jews and
liberal Catholics as a front to their control system, and I can vouch that art is controlled
by the Vatican. Always was, and still is today. Culture is their baby for brainwashing people
en masse. It is so effective, in particular TV, movies, and music. Artists are vetted and selected
through a growing system of prizes, competitions, and exhibitions. Banal, vacuous, transgressive,
profane, blasphemous, or cultural Marxist ideology-driven art is usually chosen over beautiful,
harmonious, transformative, life-affirming, or biblical art for cutting-edge international exhibitions.
If the artist is a Mason or occultist working with Luciferian concepts like sustainability, gender fluidity,
immorality, magic, witchcraft, paganism, primitivism, or anti-authority, they will definitely get
preference over an artist that is attempting to express beauty, order, and godliness. Take my word for it.
You can look around. I've studied this for 25 years. I am an artist, and I've been in the system for a long time.
I know how it works. Art built on a grunge or factory aesthetic, death imagery, darkness, foreboding,
banality, or projecting existential angst will inevitably be chosen over art that expresses purity, harmony,
profundity, order, and a positive outlook on life and the future.
Here's a quote from Metzger, or sorry, Joan Miro from 1931.
And I quote, I intend to destroy, destroy everything that exists in painting, unquote.
So the object was to destroy. It doesn't matter how they did it. It was, the central point was to destroy it.
And many people will argue that they were destroying it to remake it. But to remake it in the image of what?
Well, you'll find that nearly all these artists were remaking art into the Luciferian mold or the Luciferian mindset.
They were adapting it to those concepts and ideals.
Okay, here's a quote by Pablo Picasso. And I quote,
Every act of creation is first an act of destruction.
And Picasso said this and everyone thought he was so clever, so avant-garde, not realizing he actually meant it.
He had already become wholly indoctrinated into godless Nietzschean existentialism.
He purposefully set out, set about as destroying everything beautiful in art, leaving a trail of human betrayal, suicide, and suffering in the wake of his relationships.
What a miserable excuse for humanity he was. Yet the art world has worked tirelessly to turn him into a legend and a hero.
The 20th century was indoctrinated into the aura of Picasso the master, the god, the art god.
Not realizing his thinking and methodology were occultic, Jesuitical, and aimed at the destruction of beauty in art and culture.
And of course he was a Catholic. Oh yes, he was a Roman Catholic. Don't worry.
Of course the godless Masonic art system promoted him as the cultural wunderkind, the wonderchild of the century, extolling his philosophy and practice as genius,
and rewarding him handsomely with wealth and status unheard of for an artist and never seen before in history.
Unbelievable. So it is Picasso who opens the door to this godlike status for the painter or the artist.
He was gifted, but it was his obedience to the Luciferian system that made him famous, and also explains why the Nazis left him alone while he was in Paris during World War II.
He should in reality have been rounded up and incarcerated as the communist he was, or shot as a degenerate artist, but no, he was protected by the Jesuits who had put Adolf Hitler into power.
That's why he was never put into a concentration camp. He was protected. The Nazis left him alone because they were told to leave him alone.
As if to mirror the advent of Picasso's destruction of culture around 1910.
1910, the Jesuit Masonic plan World War I was foisted onto humanity. In 1914, permanently distorting the social order worldwide by destroying the flower of Protestant male youth from so many countries.
The 20th century became the century of destruction and human carnage never before seen in history.
Picasso was the satanic herald of what was to follow Cubism and the destruction of the image surface.
With the destruction of the image surface came the destruction of the world, and the destruction of the word of God, and the destruction of the gospel.
This was the purpose. It was to destroy everything and rebuild it into the Luciferian image through war, death, destruction, art, fragmenting the surface, all fits together. It all comes together at the same time in the early 20th century.
Arianna Stassinopoulos states in her book, Picasso, Creator and Destroyer,
from the time, and I quote, from the time that he shook the art world with Les Demoiselles d'Avignon in 1905, Picasso was out of love with the world.
He saw his role as a painter, as fashioning weapons of combat against every emotion of belonging in creation,
and celebrating life against nature, human nature, and the God who created it all. Unquote.
There it is. Picasso hated God and was creating weapons and an art that was meant to bring God down to wage war against God and against society.
You can read the full book review by Norma Hammerman and I'll supply the link where you can read that full book review.
Many artists were encouraged by the artistic liberty Picasso opened up to descend to even greater depths of cultural chaos and depravity.
Data and surrealism emerged from the destruction of the First World War, advocating anarchy, a new order, and the destruction of reason itself.
That's right, a new world order. Sound familiar?
Powerfully connected advocates such as Marcel Duchamp, Tristan Tzara, André Breton, Francis Picabia, Man Ray, Hannah Hawke, Jean Arp, among others, had a powerful ripple effect on art culture worldwide,
becoming the progenitors of the next generation of artistic transgressors.
Most of these figures are documented occultists and Freemasons. Out of their own mouths, many of these figures admitted that they were occultists.
Out of this dark cesspool of artistic destruction comes the generations of Luciferian art and agitation we are viewing and feeling in museums today.
OK, talking about Gustav Metzger and his one-eye Masonic symbolism.
Gustav Metzger, a Polish-Jewish artist obsessed with voids, proclaimed, and I quote,
Destroy and you create, unquote.
Of course, this is just more of the nihilistic nonsense started by Picasso so many years earlier.
Metzger, who died in 2017, was proud of his six decades of political art and professional troublemaking and was an initiator of the Destruction in Art Symposium in 1966.
There is a telling year, 1966.
A telltale sign of the Jesuit presence and ideology who placed their covert support behind this kind of social agitation.
Social justice, this is all Jesuitical.
Metzger is an art world troublemaker, one of the many Masonic artists lackeys who give the outward appearance of being transgressive and revolutionary against the system, but in actual fact are secretly supported and rewarded by that system.
That's the Jesuit game of using art to agitate, divide, and conquer. It is powerful and has fooled many.
Metzger states, and I quote,
What a waste of a life, lashing out at life in bitterness and creating anti-art.
I will leave a link where you can read more about Metzger.
Using art to create social change is a Jesuit strategy for social engineering and the manipulation of societies toward fascism and autocratic control by Rome.
Observe how many peaceful nations or tribal groups have been subverted by Jesuit communist revolutions and civil wars in the 20th century alone.
The list is extensive, but they are all fomented by the Jesuits in those countries.
There are pictures of Jesuit priests carrying guns and assisting their murderous protégés.
Oh yeah, the Jesuits get in there hands on, but these days normally they use proxies.
They hide behind proxies, get somebody else to do the killing for them.
But they are the controlling factor.
Whether Picasso or Metzger, modern art is and has been another Jesuit Trojan horse,
used for the infiltration and subversion of society with Luciferian thoughts, attitudes, and profligate, immoral lifestyles.
Dear listener, art has been winding down and is gradually being emptied of its eloquence and power to inspire.
Even as the art itself becomes more and more grandiose, obtuse, occultic, even vacuous or politically correct,
with prices rocketing into the stratosphere, art has fallen a long way since the early experimentation of the Renaissance.
Luciferian artists are selfishly building inflated careers for the purpose of legacy, which is Masonic,
or future glory to the detriment of integrity in art itself.
A small group of select institutional artists continually dominate the awarding of major grants and prizes.
Vast sums are being invested in and spent on novelty art projects that ultimately become eye candy, entertaining crowds, and selling tickets.
It's all about commerce. Art today is about commerce. It's not about the art, it's about the money.
Museums are popping up everywhere like mushrooms as more businesses seek to get in on the art boom to make a buck.
Most of it is factory or production line art made by specialist teams following instructions issued by the artist.
A random survey of current art world calendar events reveals yet more of the same.
Luciferian art takes the viewer on a closed loop circuit year after year of art infused with the same highbrow appearance, fashionable yet devoid of wholesome substance or meaning.
This is done deliberately because Luciferian artists are working out an agenda geared to dumbing down the public, appealing to a base human desire for novelty and entertainment,
and a growing public appetite for art that is obscure and demonic, and art produced from the heart of darkness itself.
It's godless. It's about money. And it fools the people every time because they think it's so clever.
It's the emperor's new clothes. There's nothing there to see really.
Oh yeah, you're seeing something. But it's not what people are being told it's all about.
What can be done? Unfortunately, the art world system will never change. Never.
Any attempt to do so will be circumvented and co-opted by those who control the market.
This has occurred a few times in the last 100 years. Every time somebody tries something new, it is co-opted by the art market system.
They tried it with art fairs. That was co-opted very quickly.
So everything that people try to do to break away from this control over the art market will be co-opted and quickly.
Controlling the public perception of rarity while maximizing object price and desire for the object is a Luciferian specialty.
All based on greed and deception. Art is a closed system.
And the Masonic gatekeepers are the arbiters of prevailing taste.
It's all propaganda. It's all wishy-washy. It's all whitewash.
The most important thing is an awareness of what is going on.
The controllers don't want anyone to know the truth. Just to keep playing the game.
What passes as an art education these days is deplorable. I should know. I've been through it all.
The student emerges an acolyte of cultural Marxist ideology, believing they know what art is instead of having developed a critical thinking mind.
Oh no, we don't want critical thinking minds.
People might actually figure out what's going on and all the nonsense.
Jesuit revisionist art histories delete, omit, or conversely exaggerate facts in order to paint a different picture of the past.
In the end, we think we know, but we're not sure if we know what we should really know.
This is how the artists have usurped control over art and culture.
By propagating ignorance in the public and in the experts, while at the same time flattering them for how clever they are.
And you can learn more about the Jesuit Trojan horse infiltration of world education. I'll provide that link also.
Can this problem be overcome? It's too late, because the system is now virtually uniform everywhere.
The Jesuits have achieved ideological conformity in thinking worldwide by controlling the information flow through every channel.
That's why artists are totally enamored with making blasphemous art, occult art, feminist art, green art, garbage art, body art, social commentary art, and cartoon art.
The system is a closed loop of Luciferian production and mainstream artists are on a treadmill making what is expected and demanded of them.
Compliance will be rewarded.
Once again, coming full circle, 600 years later, the Roman Catholic temple cult now control art production again through their Masonic gallery and museum network.
What is happening in art and culture is symptomatic of what is happening across all world systems.
Luciferian content mocking and deriding all that is pure and good is much more visible in art forms and is a warning that society everywhere has been subjugated and is going down the rabbit hole.
And fast.
Unfortunately, most are blind to see that the emperor, art, has no clothes.
Soon, however, all world systems will be merged completely into one with a one world government and religion which in fact is already here.
If you are able to see that something is terribly wrong and are looking for the truth, then there is hope for you.
But, time is short.
God is commanding all men to repent of their sins and receive forgiveness before this world system comes to an end forever.
After Jesus Christ returns, it will be too late as it will be time for the judgment of all human souls.
Yes, every human soul that has ever lived will stand in judgment before God.
No one will escape.
And there are no second chances after this life.
Jesus Christ said, I am the way, the truth, and the life. No one comes to the Father except through me.
That is in John chapter 14 and verse 6.
He is the only way.
There is only one way to eternal life and that is the Lord Jesus Christ.
The Bible says in Hebrews chapter 3 verse 7 to 8,
Therefore, as the Holy Ghost today says, if you will hear his voice, harden not your hearts, as in the provocation in the day of temptation in the wilderness.
So God is saying to us, not to harden our hearts, but to obey him and to find life.
Time is almost up and history is almost done.
So now is the time to get right with God.
And I urge you, if you are listening to this message and you do not know Jesus Christ as your Lord and Savior,
find him before it is too late.
It is the only thing that will save you from the disaster that is coming on the earth.
I will put links to reference sites in the box below to various things that I have been talking about in this blog.
Thank you for listening and may God open up your eyes to the truth of this evil world system.
Please share this video with others so they too might wake up from their sleep.
I hope to see you in the next video.