American Pie – Part 3

Don McLean’s “American Pie”: The Deep Decode

In Part 1 I argued that American Pie is not just a nostalgic song about the 1960s, but a prophetic warning about the fall of America—Rome burning in modern clothes. Don McLean himself now says that politics and music flow together in the song, and that the verses grow “more dire” all the way to the end. I also introduced the “deleted verse” with its five-year marker, and why I believe that timing could only have come from God.

In Part 2 we looked at Madonna’s American Pie video. Her version is shorter, and the story told by the symbolism is direct and easy to follow. It exposes some of the basic alphabet of the code: numbers like 101, 1:59, 6 vs 7, 13, and 66, along with key images tied to the coming of the antichrist and the New World Order.

The McLean video picks up where Madonna’s leaves off. It deepens the meaning of those symbols and gives a far more detailed picture of America’s coming collapse and the events leading up to it. Because of that added depth, I have split my discussion of the McLean video into two parts: this Part 3, Don McLean’s “American Pie”: The Deep Decode, and Part 4, What This Says About America’s Future.

If you grew up with Captain Crunch cereal, you know what I mean when I say this video is, to me, the Captain Crunch decoder ring of Illuminati symbolism. Not only do the symbols appear conspicuously, but the video also includes some of the key information needed to understand and confirm their meaning. It is the oldest video I know of that uses this full symbolic system—and after it, the same code shows up in many mediums all over the earth.

“59” and the Little Horn

We start with what the video makes impossible to miss: the number 59.

At 0:59 into the McLean video, there is a conspicuous “59” on the pavement. It is framed so the viewer’s eye lands on it, and the timestamp matches it. That kind of precision is the video telling you, Pay attention—this number matters.

In that same shot, a hula hoop circles a pair of black shoes, emphasizing the footwear as part of the marker—not just the digits.

At 2:55, there is another pavement marker. At first glance it reads like a “65,” but the motion of the frisbee hints the number is meant to be rotated, revealing it as “59.”

Here the frisbee lands near red shoes, pairing red with the earlier black and reinforcing the same red/black duality we established in Part 2 as colors tied to New World Order. I’ve rotated the image to make the “59” easier to see.

If the video is deliberately signaling “59,” the next question is: what does 59 mean?

I found a meaning answer to this question through the use of “simple gematria”. In simple gematria, each letter is assigned a value (A=1, B=2, C=3 … Z=26), and the values are summed. Using that method, “59” can be attached to specific identities/attributes that appear in the story.

“59” is the simple gematria value for “Joker”, “Shiva” and “Negro” and each of those words is then reinforced by the imagery in the video. You can verify the values here:

Joker: https://www.gematrix.org/?word=joker
Shiva: https://www.gematrix.org/?word=shiva
Negro: https://www.gematrix.org/?word=negro

First, Joker. There are two scenes—one beginning at 2:24, and another beginning at 4:54—that show the Joker (or Jester) pulling pranks and winning over the heart of the “queen” (America). To understand the analogy, hold it up to the lyric frame: “When the jester sang for the king and queen.”

In this decode, the king is God—because the antichrist’s project is ultimately a global rebellion of man against God. And the queen is the heart of America, the harlot of Revelation, who says in her heart, “I sit as a queen” (excerpt from Revelation 18:7).

In the first scene, the first boy—representing a legitimate government—pushes the car forward to get it started again, with the car symbolizing the nation’s path. When it starts, the boy falls, and the Joker drives away with the girl. In the second scene, while the “legitimate” side is trying to fix a flat tire, the Joker grabs a bottle of rum and runs away with the girl to intoxicate her.

As I pointed out in Part 1, McLean ties the song to U.S. politics, and indicates that the “jester” is an actual person—not just an abstract idea, and not James Dean.

Those two sequences confirm the “Joker” meaning attached to the “59” tag.

Next, Shiva: At 4:27 there are cheerleaders in a Shiva-style pose. Since the cheerleaders’ arms and legs appear semi-transparent—an artifact consistent with the limitations of CGI at the time—it’s clear this “multi-limbed” look was constructed, not casually captured. That extra effort is part of what makes this moment read like a deliberate symbol rather than an ordinary cheer pose.

Shiva is a Hindu deity commonly associated with destruction and transformation, and in modern symbolic messaging this motif often functions as “rebirth through destruction.” I mention this here because the same symbol shows up repeatedly across unrelated media, which is one way this code signals that it is a system rather than a one-time artistic flourish.

Shiva is also used as a public-facing symbol connected to CERN (via the Shiva statue), which— as I briefly touched on in Marks & Spencer Xmas Advert Exposed—many believe is tied to opening the “abyss” imagery of Revelation 9:1-2.

The following image depicts Obama as Shiva, and shows the CERN Shiva statue:

Finally, Negro: At 3:42 into the video we see a Black man is shown looking in through a window. I’m using the word “Negro” here only because it is the gematria term being signaled by the frame and the era of the video—not as a slur.

At first glance, the scene can look like racial exclusion: the man is outside, and the people inside appear to be white, while the lyric line is on “dirges in the dark.” But on closer inspection, the sign reverses the first impression. It reads: “NOBODY CAN BE BROUGHT TO THESE PREMISES.” I enlarged and mirrored the frame below to make the lettering easier to read.

Note: in the current version of the video, this signage is no longer readable in the same way; the still below is from an earlier version.

Now “59” is no longer just a number. In is a framework, it becomes a label for a specific composite portrait—the Joker / Shiva / Negro identity for the antichrist figure.

Beyond gematria, there is another reason “59” fits as a numeric “mark” inside this symbolic system: it is the 17th prime number. And 17 functions as a compact beast-marker because Revelation 13 describes “a beast rising out of the sea, with ten horns and seven heads” (Revelation 13:1, ESV). Seven heads plus ten horns/crowns yields 17, which is why “17” is repeatedly used in this code to point back to the beast. “59,” as the 17th prime, then becomes a natural candidate for a recurring numeric tag. In this read, that same beast later turns on the harlot who rides it (Revelation 17) and establishes what is commonly called the New World Order.

Not convinced yet? We are just scratching the surface.

Now we build one step deeper—because 59 often appears with a “1.”

I already touched on this in Part 2 with the 1:59 marker in Madonna’s video (the demon-birth moment). Now I will connect this “1” to the “little horn” language of Daniel 7 and Daniel 8.

Below is Yale’s Skull & Bones emblem. The reason it belongs here is because it includes the same “1 + 59” pattern we’ve been tracing.

I include a fuller breakdown of the many messages embedded in this emblem at the end of this article. In short, I read it as pointing to global conflict that culminates in the rise of the antichrist and a rebellion of man against God.

Here, I’m focusing only on the numerical structure.

Starting with what stands out most, there is an obvious 322 printed at the bottom.

Next is an 11/6 pattern. This is discerned by counting the teeth: there are eleven in total, and six of them are noticeably longer. That tells you the emblem is meant to be read numerically, and it also hints at how the “1 + 59” pattern is encoded.

Now look at the ends of the crossbones—where “knees” would be—marked by small nubs. In this read, there are nine nubs in total, and five are longer, yielding a 5 and a 9—a “59.” That count is not as obvious as the printed 322, but it fits the same numerical method suggested by the teeth.

And one detail seals the intent: on the top-right crossbone, one nub is conspicuous and extra long. That standout nub functions as the little horn marker—the “1” placed into the “59,” giving a compact 1:59 signature.

There is much more symbolism in this emblem, and I walk through it at the end of this article for anyone who wants the fuller context. It took me two years to decode once I began recognizing the system.

With that groundwork laid, the McLean video then hits the viewer with the most loaded “1 + 59” placement in the entire piece.

At 5:19 into the video, the graduation / ceremony scene is staged as a procession.

Upon closer examination, it reads to me as a ritualized march of sacrifices. We are nearing the lyrics:

Oh and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan’s spell

Notice the heart shape on the table to the left. It represents a sacrifice table. Notice the streams of red coming down from the podium—blood imagery. It represents a guillotine.

The students are dressed in red and are walking up a red carpet, representing blood sacrifices. The video then reinforces the sacrifice reading with a short sequence:

First, at 5:33, we see a girl looking up at the podium with a concerned look on her face.

Then at 5:36, we see a boy standing in front of the table of sacrifice releasing a dove into the air—representing that he is letting go of his spirit, dying.

There is quite a bit more in the section of the video around “Jack be nimble, Jack be quick… ’Cause fire is the devil’s closest friend,” but we will dive into that in Part 4. Here I’m staying focused on the little horn and “59” symbolism.

The timestamp for the opening of this scene is 5:19—a “59” split by a “1.”

The little horn is placed in the middle of 59. This mirrors a pattern from Old Testament sacrifice:

And [Abram] brought him all these, cut them in half, and laid each half over against the other… As the sun was going down, a deep sleep fell on Abram. And behold, dreadful and great darkness fell upon him…. When the sun had gone down and it was dark, behold, a smoking fire pot and a flaming torch passed between these pieces
(Genesis 15:10, 12, 17)

God walks down the middle of Abram’s sacrifice in a dark night.

In this symbolic system, the “1” (the little horn) is walking down the middle of the divided sacrifice as the earth falls into that “dreadful and great darkness”—the night that comes before the Bright Morning.

So to summarize: the video clearly marks “59” as a special number. I have shown a system that fits both the video and the lyrics, giving “59” meaning through gematria as a set of characteristics attached to the antichrist—the little horn of Daniel 7 and Daniel 8. That also fits with how “59” is repeatedly paired with “1,” both in the McLean video and in Madonna’s (including the demon-birth moment at 1:59). I am unaware of any other explanation for why “59” is emphasized this heavily in this video—or why so many videos use 1:59 as a marker for destruction or antichrist birth. The American Pie videos were taken down for about three months after I first exposed these symbols and contacted McLean’s agent (as I described in Part 1).

So draw your own conclusion. If you’re still reading, it’s probably not because of skepticism anymore, but because you have the heart of a lion. These things are hard to look at. It is hard to imagine the evil lurking under the surface of so many icons of our society—and appearing again and again around the world.

This isn’t the last you will see of the little horn / “59” symbolism. It is all around us if you have eyes to see it. Now we are moving on to the 101 symbolism.

101— A Portal Between Temple Pillars

Just like the Madonna video strongly signals “101”, which we decoded in Part 2, the McLean video also strongly signals 101.

At 0:19 into the McLean video, a man walks past a church. The fuller examination of the video will reveal that this man represents Jesus. As he passes, the lyrics speak of music that “used to make me smile,” and of having “my chance” to “make those people dance.” The visual response is not joy. It is separation.

Alongside the church building, there are two tall, pillar-like bushes with a window between them forming a visual “101” pattern.

I recognized this pattern because when I lived in New Zealand, I lived across the street from a Freemason lodge. Here is a photo I took of this Freemason lodge in New Zealand.

We will get to the actual meaning of 101 shortly, but here, the message is that another spiritual access point has been inserted alongside the church—something counterfeit, something hostile to true communion with God. That is why Jesus does not enter. He passes by.

Scripture warns repeatedly that shepherds and teachers will be corrupted, and that many will prefer comforting myths over truth (Jeremiah 23; Ezekiel 34; 1 Timothy 4:1–2; 2 Timothy 4:3–4). The McLean video places that warning right at the beginning: the church is there, but the gateway beside it is not the church’s friend. Specifically, my read (and my personal experience, which I will explain in Part 4) is that false doctrine planted by Freemasonry (which is subservient to the Illuminati, my reference for Satan’s highest level organization on this earth) has infiltrated U.S. churches. I believe this influence has been exerted institutionally through seminaries and denominational controls focused on garnering members and money, and on comfort-centered. We should not be surprised by Satan’s pressure on the churches to replace real relationship with God with feel-good religion.

At 1:01, the camera lands on a car priced at $599.

In this visual alphabet, 101 / lOl reads as pillar–portal–pillar: the “1” shapes function like uprights, and the “0” functions like an opening.

This does two things at once. First, the timestamp repeats the gateway marker (1:01). Second, the price $599 embeds the earlier numeric tag (59) inside the moment of 101—as if the video is saying: when the portal opens, this is what comes through. In the broader symbolic system, that gateway language is tied to temple ritual and sacrifice—a counterfeit “opening.”

And the “99” at the end is not just a price flourish. If you rotate the two 9s—as the video already signaled with the earlier 65→59 cue—they read as 66, tying back to the Ring of Six theme established in Part 2. The point is not that every viewer will decode every layer on the first pass. The point is that the video stacks 101 + 59 + 66 into a single beat: gateway imagery, the antichrist-identity tag, and the ritual language of “rebirth” through destruction.

At this point, it helps to step back and say plainly what this section is showing: this code isn’t confined to one music video. The same gateway marker appears across media and across nations—exactly as Scripture says:

“We know that we are from God, and the whole world lies in the power of the evil one.”
(1 John 5:19, ESV)

That’s why I include the next image.

On the main runway at Donetsk, the pro-Russian side painted a huge “#101″ beside a child silhouette. Locals were told it commemorated the number of children killed early in the conflict—but my friend who lives in Donetsk right on the border of the conflict informed me that the number of children killed was significantly higher. Rather the scale and styling read like the same global “101” signature: a portal mark stamped onto public space in the middle of war messaging.

The silhouette is filled with many dot-marks; I believe there are 59 of them. The figure on the ground also appears arranged in a cross-like shape. Taken together, that reads as another “101 + 59” pairing—again linking the gateway marker with the same identity tag we traced in the McLean and Madonna videos. And it shows that this pairing appears on both sides of a global conflict—reinforcing the point of 1 John 5:19: the whole world lies in the power of the evil one. It also fits the conquest pattern Scripture describes—power expanding across nations under a single unseen drive (Revelation 6:1–2): the white horse of conquest, first of the four horses of the apocalypse.

Finally, Heliofant’s I, Pet Goat II compresses the same 101 + Negro + Joker/Jester (59) + “resurrection” (66) + little horn stack into a single frame.

At 1:11 in the video, Obama is positioned behind a podium marked with a “101 / lOl” pillar–portal–pillar symbol, and a conspicuous purple tassel extends from the “O” (the portal) to the left side of his head—a visual line that reads as a connection from the portal to the mind. In the same moment, he is snickering—fitting the Joker/Jester thread we already tied to the “59” tag. I use snickering rather than laughing because Daniel describes this ruler as “understanding dark sentences” (Daniel 8:23, KJV)—speech with concealed meaning. I’ll return to that pattern in future posts.

That same frame stacks additional “confirmation” cues. Above him is a shark, and the shark has a little-horn where its eye should be. A shark is the ultimate hunter of fish. Nimrod—the leader of the first rebellion of man against God—is called “a mighty hunter” (Genesis 10:8–9). Later interpretive tradition sometimes expands that “hunting” into oppression and renders it as “hunter of the sons of men.”

The timestamp itself—1:11—also reads like 101, but here the portal is “filled.” For a split second, the “1” (little horn) occupies the gateway—matching the frame’s central emphasis. And the Resurrection of Osiris, tied to 66, also points in the same direction, because Revelation describes the beast’s mortal wound being healed, to the astonishment of the world (Revelation 13:3; see also 13:12, 13:14). Taken together, this is why I read the symbolism as pointing to the moment Satan consummates with the mind of the man who becomes the antichrist.

This is where the symbols connect in a concrete way. In this symbolic system, 101 is not neutral scenery: it’s temple imagery, and temple imagery implies blood-sacrifice logic—the “price” of opening a spiritual gateway. That gateway then pairs with what you’ve already seen stacked beside it: 59 (identity) and 66 (rebirth/resurrection language). Read through Scripture’s lens, the “resurrection” emphasis points toward the beast’s mortal wound being healed—presented in this messaging as an awaited culmination by the global elite who craft and spread this symbolism.

FEAR ME and “23”

This sequence begins around 1:26 as the lyrics shift into direct questions about faith—whether trust is anchored in the Bible, or in another spirit dressed up as “music.”

Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Do you believe in rock and roll?
Can music save your mortal soul?

As students move in and out of the school, a banner on the building reads: “FEB 3 – FEAR ME.”

It’s easy to miss because it’s embedded in a school dance banner. Zoomed out, “FEAR ME” can look like the start of “Featuring …”—which is why I’m showing the context next.

From there, the lyrics move fully into the dance theme:

And can you teach me how to dance real slow?

Well, I know that you’re in love with him
‘Cause I saw you dancin’ in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues

The lyrics and visuals subtly point to conflict. “Dance” is often used as a metaphor for conflict handled with delicacy and precision—a sword dance, a dance of words, a careful contest where one party is trying to pull another into his lead. In the video, two young men are competing for the attention of the same young lady. However, I believe the lyrics point to something personal: which “music,” which spirit, which faith will you follow? The banner’s message (“FEAR ME”) sits over that choice like a shadow, turning the “dance” into a spiritual pressure point: intimidation meant to steer people toward the easier path.

So why Feb 3? In this symbolic system, dates often function as number-tags. Feb 3 → 2/3 → 23 and 23 shows up frequently in Illuminati symbolism.

The meanings of 59, 101 and 66 are clear to me. With 23, I can only postulate. At the most basic level, the message reads like this: as you weigh which path you will take, you will be pressured toward the easy—or wrong—path. Most people miss the narrow way because they follow emotion, comfort, or social pressure.

Jesus framed that same choice:

“Enter by the narrow gate. For the gate is wide and the way is easy that leads to destruction, and those who enter by it are many.
For the gate is narrow and the way is hard that leads to life, and those who find it are few.” Matthew 7:13–14 (ESV)

My best working hypothesis for “23” is that it points to two threes—two interlocking triangles (the so-called star of David)—because Scripture itself uses star language when it describes rebellion and idolatry. Stephen quotes that language directly when confronting Israel’s pattern of turning from God just before he is martyred:

My best working hypothesis for “23” is that it points to two threes—two triangle that can be rendered as an image of two interlocking triangles or the star of Saturn. Stephen quotes that prophetic “star” language directly when confronting Israel’s repeated turning from God—just before he is martyred:

“You took up the tent of Moloch and the star of your god Rephan, the images that you made to worship; and I will send you into exile beyond Babylon.”
Acts 7:43 (ESV)

Stephen was quoting from Amos 5:26:

“You shall take up Sikkuth your king, and Kiyyun your star-god—your images that you made for yourselves.”

The banner is real (“FEB 3 – FEAR ME”), the timing lands inside a faith-testing stanza, and the scene frames a choice around the girl at the center of the dance. I may not have the full subcode of “23” pinned down—but the surface message is unmistakable: fear is being planted as the motive force right where the lyrics press the question of what (and who) you truly trust.

Skull and Bones Emblem Fully Decoding

In the body of this article, I focused on the three numerical anchors I see in the emblem—322, 11/6, and a compact 1:59 structure. Here I’m adding a few non-numeric layers to give a fuller understanding of the emblem and its numbers.

On of the first things I notice is that the two thigh bones cannot be from the same body because of the way the “knee” nubs bend. Because they cross each other, they read as conflict—war.

In summary, the logo points to the coming of the antichrist system (the New World Order) through deception that culminates in war, and it supports the global elite belief in human ascension to the level of God.

The eyes are not symmetrical. A cloudy clockwise swirl begins on the forehead and feeds into the viewer-left eye. That eye is partly ringed by a hexagon-like swirl, and behind the socket I see a mouth.

On the viewer-left side of the skull, just left of that eye, is the silhouette of a face. This face matches Drako in Heliofant’s I, Pet Goat II. On Heliofant’s gallery page, Drako is described as:

“The Sorcerer, the unseen hand and spirit of madness seeking ever more control through trickery, lies, poisons, false-flag events, wars and mountains of beauracratic [sic] and legal framework to siphon off the energy of the inhabitants of the earth. He fears the light of day as he fears life itself, and operates in the shadows. His greatest power is his hold on the issuance of currency.”

This reinforces my understanding that when Satan consummates with the man that will become the antichrist, he will lose his right eye when he receives his mortal head wound, and will arise as the spokesperson of Satan. Zechariah 11 describes an antichrist figure as the “shepherd of the flock doomed to [be] slaughter[ed]” and the “worthless shepherd” and it also describes an injury he will sustain from conflict:

May the sword strike his arm and his right eye!
Let his arm be wholly withered, his right eye utterly blinded!”
(Zechariah 11:17, ESV)

A clear “human ascent” / New World Order message comes through if you read the emblem’s 322 and 11/6 as pointers into Genesis:

Then the Lord God said, “Behold, the man has become like one of us in knowing good and evil.”
(Genesis 3:22, ESV — excerpt)

And the Lord said, “Behold, they are one people, and they have all one language, and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them.”
(Genesis 11:6, ESV)

It might also be a reference to Genesis 6:11, which led to the world’s destruction:

Now the earth was corrupt in God’s sight, and the earth was filled with violence.
(Genesis 6:11, ESV)

We already covered the meanings of 1:59 (the little horn and the beast/antichrist) and 11/6 (the Ring of Six / “resurrection” framework I discussed in Part 2). But 11/6 also echoes in a few other ways:

Rotated, 11/6 becomes 9/11.
11:06 is the 666th minute of a day (11×60 + 6 = 666).
November 6, 2008 was declared a public holiday in Kenya, where many believe Obama was born.
I’ve also documented an “11/6” pattern embedded in a sidewalk feature in Jūrmala, Latvia, which I plan to cover in a later piece about places marked for destruction.

Some high-profile figures widely reported to have been members of Yale’s Skull and Bones society include George H. W. Bush, George W. Bush, John Kerry, William Howard Taft, and Prescott Bush.

Some treat 322 as a date-signature—March 22—a day near the spring equinox that has coincided with major events. A friend I learned from early on predicted the date of the Brussels airport bombing (March 22, 2016), and the Westminster Bridge attack also occurred on March 22, 2017.

I do believe dates can be signaled in this symbolism, but the layer is purposely deceptive and easy to misread. I was able to anticipate the dates of several events—such as the Orlando Pulse nightclub attack (June 12, 2016) and the Las Vegas mass shooting (October 1, 2017). I believe I, Pet Goat II (released 2012) foreshadows the Pulse date. Notice the numeric pattern: 6/12 can be read as 6 + (6+6) → 666, and 10/1 reads as 101. Other high-profile events land on similar number-structured dates, including: Trump’s Jerusalem announcement (December 6, 2017), the Trump–Kim Singapore summit (June 12, 2018), and Iran’s major missile attack on Israel (October 1, 2024).. Another Trump–Kim meeting fell on the 59th day of the year (February 28, 2019).

So I’m not date-setting here. I’m only noting that 322 is often treated as a date-signature, and that certain dates recur in ritual-style signaling. Even if the date layer is disputed, the emblem’s intent remains readable.

God’s Signature in Scripture – Part 1

Tracing God’s Fingerprint in Genesis 46 and Numbers 7

In The Marriage Supper of the Lamb – Part 2 we saw that Scripture by itself, as “letter,” is dead; it is the Holy Spirit who makes the Word alive—for, “the letter kills, but the Spirit gives life” (2 Corinthians 3:6). Any study of the Bible that focuses only on the text as an academic object usually misses the depth of meaning God intended—especially in the Old Testament.

So can I “prove” my understandings are correct? Not in a mathematical way. The only real confirmation is if the same Holy Spirit bears witness in your heart. There is also a second safeguard: no true understanding of Scripture will contradict any other part of Scripture. If an interpretation requires us to ignore even a single verse, it is not from God. The understandings I present here are, to the best of my knowledge, in harmony with all of Scripture—and I welcome honest testing and challenge on that basis.

Every Word as Seed

Quoting Moses, Jesus said, “Man shall not live by bread alone, but by every word that comes from the mouth of God.” To me, that means every word in Scripture matters.

Why are we told Peter caught exactly 153 fish in John 21:11? Why, in the middle of one of the longest and hardest-to-read genealogies in the Bible, does Nehemiah 9:11 speak of “a stone” being cast “into mighty waters,” while Exodus 14:21 says a strong east wind parted the sea?

These kinds of details began to stand out to me. A new texture—and, most of all, life—began to emerge, as if a new dimension opened above the black letters on a white page. Meaning began to “float” above the text in the illuminating golden light of the Lampstand.

What I call God’s “signature” in Scripture—patterns that authenticate the Bible as His Word in a way no human author could have orchestrated—is exactly this: illuminated meaning that seems to rise from the pages and brings a deep confidence and peace that it truly is God’s Word.

The Seed of the House of Israel—66/70

Genesis 46 records Jacob going down to Egypt with his family. The chapter carefully lists the descendants of Jacob who went to Egypt, and then gives us two counts:

66 direct descendants who went down with Jacob
70 total when Jacob himself and Joseph’s two sons are included

Scholars debate how to reconcile these numbers. Most readers overlook them. To me, the 66/70 pattern looked deliberate, but I did not yet know what it meant. I simply kept it prayerfully tucked away in my heart.

Some time later, as I was planning another full read-through of Scripture, that unanswered question came back.

I am currently reading through the Bible for the ninth time. I don’t read from Genesis straight through to Revelation. Instead, I mix the order to see more cross-connections. In one of these cycles, I decided to split the book of Psalms into its five internal “books,” because Psalms is so long and is already clearly partitioned.

When I did that, I realized something simple but striking:

If you count Psalms as one book, the Bible has 66 books.
If you count Psalms as five books, the Bible has 70 “books”.

There was that 66/70 pattern.

When I saw that, Genesis 46 came back into my mind. I had been praying over the double count there, and now I saw a link:

In Genesis 46, the seed of the house of Israel is counted as 66/70.
In the Bible, the books that carry God’s Word also form a 66/70 pattern.

My conclusion is not that “the Bible is 66/70” as a bare number. Rather: 66/70 is the number of the seed of the house of Israel, and Scripture is that seed.

Here it is important to remember who Israel is.

“Israel” is a name God Himself gives to Jacob after he wrestles with Him: “Your name shall no longer be called Jacob, but Israel, for you have striven with God and with men, and have prevailed.” (Genesis 32:28)
In the New Testament Paul explains that “Israel” is defined by faith, not mere genetics: “For not all who are descended from Israel belong to Israel… it is not the children of the flesh who are the children of God, but the children of the promise.” (Romans 9:6–8; see also Galatians 3:7, 29)
Daniel 12 adds an Old Testament witness to this same idea: “At that time your people shall be delivered, everyone whose name shall be found written in the book.” (Daniel 12:1) Here “your people” are identified not merely by bloodline, but as those whose names are written “in the book” (elsewhere called “the book of life” in Revelation 20:12; 21:27).
Revelation 7 gives a New Testament picture of “Israel” at the end of the age: an angel seals “the servants of our God … sealed from every tribe of the sons of Israel” (Revelation 7:3–4). Verses 5–8 then list the offspring (sons) of the tribes, notably omitting Dan.

The “house of Israel” is therefore not just an ethnic label; it is the house of God’s people—those who belong to Him and walk by faith.

Scripture itself uses “seed” both in the physical (descendants) and spiritual sense (the Word):

In the parable of the sower, Jesus says plainly: “The seed is the word of God.”
Paul speaks of Christ as the Seed and of us as Abraham’s offspring by faith (Galatians 3).

So when I see Genesis 46 highlighting the seed of Israel as 66/70, and the canon of Scripture mirroring 66/70 depending on how we count Psalms, I see a quiet signature of God that confirms the Bible is the “seed” of the house of Israel—God’s house.

The Structure of the Word of God—13/7/1

This brings us to Numbers 7, another place where, at first glance, the text is repetitive and easy to overlook—and yet another place where I believe God has left His signature authenticating the Bible.

Numbers 7 describes the dedication of the tabernacle. The twelve tribal chiefs bring their offerings. The offerings are identical, and the chapter repeats the full list verbatim, twelve times, once for each tribe. Many readers skim this section. Many commentators summarize it instead of reading it through.

As I prayed over this chapter, I sensed the Lord impress something on my heart:

“Do not skim this. Read every offering, all twelve times. It is this way for a reason. If you are faithful to read it this way, I will give you understanding.”

So I read each repetition of the offerings of the twelve tribes as if I were reading it for the first time.

The next day I started a long journey, on a train from Sumy, Ukraine to Moscow, with a nine-hour stop in Kharkov. As I lay in my cabin, I played back Numbers 7 in my mind, prayerfully considering the details I had read the day before. There were two offerings of grain and oil on silver platters of 130 and 70 shekels, and one offering of incense on a gold platter of 10 shekels.

What did the 13/7/1 mean? Why was there grain and oil on two of them but incense on the third? What did the silver and gold mean?

The more I contemplated it, the more three simple observations stood out:

There are three dishes: the first two are made of silver, and the last is made of gold.
The first two hold grain mixed with oil, and the last one holds incense alone.
Their weights form a 13 / 7 / 1 pattern (130, 70, 10).

Grain and oil match what we have already seen: the Word (grain) made alive by the Spirit (oil). Incense, in turn, is a picture of prayer received in heaven before God (as we see in Revelation 5:8, where we read of “golden bowls full of incense, which are the prayers of the saints” and in Revelation 8:3-5, where incense is offered with “the prayers of all the saints” and then thrown to the earth).

In The Marriage Supper of the Lamb – Part 2, we described grain—which grows above the earth—as symbolic of manna from heaven, and oil as a picture of the Holy Spirit who gives that Word life. So we can see the grain-and-oil dishes as representing the Word of God made alive by the Holy Spirit. Incense clearly pictures prayer.

Even the metals speak. Silver is pale like the moon; gold shines like the sun. The moon’s light is only a reflection of the sun’s light. Silver, then, can picture what is on earth, reflecting heaven; gold points directly to the source—heaven itself.

Seen this way:

The two silver dishes with grain and oil point to God’s Word and Spirit working in the realm of man.
The one golden dish with incense points to the heavenly side: worship and prayer before God’s throne.

This 13/7/1 pattern is not random. It appears elsewhere in Scripture in ways that cluster around sacrifice, fullness, and completion. One striking example is the Feast of Booths in Numbers 29, where:

13 bulls are offered on the first day,
the number of bulls decreases day by day down to 7 over 7 days, and
on the eighth day, there is a single bull for a solemn assembly.

Again we see a 13 / 7 / 1 shape around offerings and consecration.

In Numbers 7, the 130–70–10 shekel dishes form a 13/7/1 pattern and carry exactly the elements we have been tracing: grain and oil (Word and Spirit) on silver, and incense (prayer and worship) on gold. For me, this became another part of God’s “signature”: hidden inside a chapter most people skim, He quietly sketches the basic structure of His Word.

In the Old Testament, Israel is often functioning as thirteen tribes: Joseph is divided into Ephraim and Manasseh, and Levi is set apart in the center around the tabernacle while the other tribes encamp around them. In that light, the “13” can be seen as pointing to God’s Word and Spirit given to the genealogical tribes of Israel—the Old Testament.

In the New Testament, Jesus walks “among the seven golden lampstands,” and we are shown seven churches (Revelation 1–3). The “7” in the second silver dish fits this: the Word of God, made alive by the Spirit, given to the seven churches—the New Testament.

The “1” then points to a single, distinct book: Revelation itself—a book not simply written from earth looking up, but dictated to John in heaven, where the bowls of incense gather the prayers of the saints.

13 – the Old Testament: Word + Spirit in the era of the tribes.
7 – the New Testament churches: Word + Spirit in the era of the lampstands.
1 – Revelation: a heavenly book of incense, vision, and the consummation.

Even the gaps in the numbers—13 down to 7, and 7 down to 1—are 6 and 6, again hinting at the 66 pattern tied to the whole Bible’s sixty-six books.

There is another 13/7/1 pattern echoing this structure inside the New Testament itself:

13 letters traditionally associated with Paul, laying foundations of doctrine and practice for the churches.
7 other letters (James; 1–2 Peter; 1–3 John; Jude), strengthening, warning, and encouraging believers.
1 final prophetic book, Revelation, filled with incense, worship, and end-time vision around the throne of God.

I don’t claim these patterns as a mathematical proof, but I believe they are God’s quiet signature—ordering His Word with a consistency no human author could have engineered, and leaving hints of that order in places like Numbers 7 that most readers pass over quickly.

Taken together, Genesis 46’s 66/70 pattern for the seed of the house of Israel and Numbers 7’s 13/7/1 pattern for the dishes and offerings look to me like two sides of the same signature: the number and structure of the seed of the house of Israel, the Word of God. These are not proofs in a laboratory sense, but if we both have the Holy Spirit, He can confirm what is true and set aside what is not.

How I Came to Read Scripture This Way

For those who are interested in how the Lord led me into this way of reading, I want to share a bit of my own story.

From Ukraine to Daniel 7

I read the Bible twice in my twenties, then on and off for the next two or three decades. In 2011 I became a digital nomad and have lived in many places since. I spent a lot of time in Ukraine—Sumy, Mykolaiv, Crimea, Luhansk, and also the western parts like Lviv and Kolomyia in the southwest. I understood the regional differences and the tensions keeping the nation divided.

When the Maidan protests began in 2013–2014, I followed the news closely. I watched what Western media and U.S. officials were saying, and compared it to what I experienced while living there. It became clear to me that the West was more interested in narratives that justified force than in truth that could lead to peace. I understood then where the U.S.’s meddling would lead.

I remembered Daniel 7, where the bear is told to “arise and devour much flesh.” I understood what I was watching in real time was part of what Daniel saw: the shifting of empires and the approach of a third world war. Russia is the bear, and Ukraine, one of the three ribs in the bear’s mouth.

When the Veneer Came Off the Church

In my twenties I attended a “charismatic Baptist” church. They taught what is often called the “five-fold ministry” from Ephesians 4:11—apostles, prophets, evangelists, shepherds (pastors), and teachers—as if these were institutional offices to be filled and managed.

The main Bible teacher (who bore the title “apostle”) had real insight—and I still believe much of his teaching came from a sincere place. But looking back, the system around him was driven by membership and money, not by the Holy Spirit. Emotion through music and institutional loyalty were often substituted for real spiritual connection, obedience, and truth.

When events in Ukraine escalated, I reconnected with that church, hoping to talk with one of their “prophets.” A true prophet will not simply echo the viewpoint of his own nation; he cares about truth before nationalism. As I listened, I realized their “prophets” were fully Americanized in their worldview. They did not see what was really happening. That was the moment when the veneer came off for me. I saw the institution for what it was.

More importantly, that was when I decided: I need to go back to Scripture myself.

Laying Aside Commentaries

At first, I opened a few well-known Bible commentaries on my screen beside the text. I would read a chapter of Scripture and then read what the commentators said about it.

Then, one day, quietly but clearly, I sensed the Holy Spirit speaking to my heart:
“Stop reading the commentaries. I will teach you.” After that, I began to see a bigger picture. My heavenly Father, through the Holy Spirit and the Word, wanted to have a conversation with me, but a third person was sitting at the table, constantly interrupting, rephrasing and injecting his comments into our conversation. Should a child not be able to understand his own father? Why should a stranger join in and try to talk for the father?

Jesus had already promised, “the Helper, the Holy Spirit, whom the Father will send in my name, he will teach you all things and bring to your remembrance all that I have said to you” (John 14:26). That does not mean we never learn from others, but it does mean that the same Spirit who inspired Scripture must be the One who makes it alive and clear in each of our hearts.

(In everything I write, I have no desire to replace that Teacher; my hope is that your love for the Word of God deepens, and that you find yourself more drawn to meet with God through it.)

From that point on I stopped going to commentaries for understanding. I now purposely use a physical ESV Bible with no commentary as my primary way of reading Scripture. If I don’t understand something, I pray for understanding. Sometimes it’s immediate; sometimes it takes days or longer; but whenever I have sought earnestly, I have received understanding.

Many “scholarly” approaches to the Bible lean heavily on schemes such as historical-critical analysis, source criticism and redaction criticism, and purely literary analysis, all wrapped in highly technical “biblical hermeneutics” that imply only trained experts can really understand the text.

The Bible, however, was given for the whole people of God—for anyone with an open, believing heart—not just for those with degrees and titles.

Those tools can sometimes provide useful background, but they are not the same as listening to the Author with an open heart. If we treat the Bible only as an object of academic study, we may become clever—and also blind.

And the final message is that God’s people need to return to the Word of God—undivided across denominations and continents—peeling back doctrines introduced over the ages by human interests, doctrines that separate us from real relationship and living knowledge of God the Father and Jesus the Son.

In Part 2: Sixes, Sevens, and the Two Witnesses, we will look at another layer in Numbers 7—the six-and-seven pattern in the animal offerings—and how it connects to God’s end-time work in His Church.

And in Part 3: Seven Lamps, One Bride, One King, we will show the completion of the number pattern, as it finishes in Numbers 8, and how it points to the completion of this age.

“Riders on the Storm” by The Doors

A Love Song to War and a Mocking Gospel

“Riders on the Storm” is a message about war and judgment—a song that says, in effect, the storm is coming, the riders are already in motion, and the only real shelter is the One most people refuse to love.

The original track is here, and a well-known fan edit set to Vietnam War footage is here.

Like the other songs we’ve looked at, I believe it also carries a mocking tone: Satan gloating that he can speak truth right in front of us, and almost no one notices.

“Riders on the storm” – Spiritual cavalry

The song opens with the repeated phrase “Riders on the storm.” Before I dive in, it’s worth asking: who are the riders?

Isaiah 21 gives a clue. The prophet is told to set a watchman, and the watchman reports what he sees:

“…riders, horsemen in pairs, riders on donkeys, riders on camels…” (Isaiah 21:7)

In the ancient world, horses, donkeys, and camels were the vehicles that carried soldiers, weapons, and supplies to the front lines. In our day the hardware has changed—trucks, trains, planes, ships—but the pattern is the same. When you see massive movement of men and materiel toward a front, you are watching the riders of war.

Those are the riders of the storm in the physical sense: columns of troops, endless convoys, logistics chains feeding a conflict that has its own momentum once it starts.

But that is only the surface.

The track itself is soaked in rain and thunder. Musically and lyrically, the picture is:

A dark sky,
Sheets of rain,
Invisible riders moving through it.

This echoes the biblical picture of war and judgment moving like a storm across the earth—like the horses released in Revelation 6, or the “whirlwinds” and “riders” of Isaiah 21 sweeping through nations.

The riders are not just tanks and soldiers. They are spiritual powers riding on top of human wars—principalities and powers that push nations into conflict and feed on the destruction.

The official audio visualizers lean into the storm mood. And in the Vietnam-war fan edit, the lightning flashes line up with artillery and bombs, making the link even clearer: the storm is not just weather; it is war.

The song never names these riders. It just keeps chanting the line, like a mantra: the riders are out there, and the storm is already on us.

“Into this house we’re born… into this world we’re thrown”

Early in the song we hear two key lines:

“Into this house we’re born…”
“Into this world we’re thrown…”

We are born into a storm-world—into a “house” already under judgment. The Bible says creation itself is in “bondage to corruption” and “groaning together” (Romans 8:21–22). Human life begins in a broken system.

The next images underline that:

A human being “like a dog without a bone” – restless, unsatisfied, wandering, looking for something to cling to.
“An actor out on loan” – on stage for a short time, reading lines someone else has written, then gone.

That is the human condition under the ruler of this age. People are hungry, temporary, and easily pushed into playing parts in someone else’s drama—especially the drama of war.

The storm is already raging when we arrive. Most of us just try to live our small stories under a sky filled with riders.

“There’s a killer on the road” – War personified

The tone shifts when we hear: “There’s a killer on the road.”

On one level, you can picture a serial killer. On another level, it is a picture of war itself, personified—a spirit of murder travelling the highways of history.

His “brain… squirming like a toad” sounds like an unclean spirit: restless, slimy, never at peace, always hunting for the next victim.

Then comes a chilling warning in everyday language:
If you give this man a ride, sweet family will die.

This is the dance of war. Once you invite war into your vehicle—your nation, your alliances, your political project—it does not just hurt “the other side.” It kills families on every side:

Sons drafted and sent to the front.
Daughters trafficked or abused.
Cities leveled.
Fathers and mothers buried or left nameless.

It echoes the red-shoes picture from Hans Christian Andersen: once you put them on, you cannot stop dancing. Once you let the killer in the car, you cannot control where he takes you. The dance continues long after people want it to stop.

In that sense, the rider is not just a single man. He is the spirit of war—and behind him, the destroyer who has been riding storms from age to age.

“Take a long holiday… let your children play” – Stepping Out of the Storm’s Path

Around this same section we hear:

Take a long holiday
Let your children play

On the surface it can sound like escapism—go someplace warm, let the kids enjoy life. But in light of Scripture’s warnings, I hear something sharper: get out of the path of the storm while you still can. Revelation 18:4 says, “Come out of her, my people…” and Jeremiah repeatedly calls people to flee from the city under judgment rather than sit and hope it blows over.

In that light, “take a long holiday” carries a dark double meaning—not a long weekend, but a one-way trip out of the kill zone. And “let your children play” is not about ignoring reality; it is about preserving your children’s lives so they can live to play at all. School, careers, routines—none of that matters if a bomb lands on your city. When God says to leave, the priority is simple: go.

In our own time, we have already seen what happens when people wait too long. Millions of Syrians have been scattered across neighboring countries because the war swallowed their towns faster than they ever imagined. Millions of Ukrainians have left homes, jobs, and schools behind and become refugees across Europe. Before the full-scale invasion, many thought, “It probably won’t come to my city. It will blow over.” For some, that delay meant getting trapped—men called up to the front lines, families separated, or only being able to flee with what they could carry.

The same pattern showed up in Vietnam: millions of civilians killed or wounded, and millions more driven from their homes. No one set out hoping to become a war refugee, but once the storm was fully overhead, many had no choice.

Biblically, God has already told us how serious the final storms will be. In Isaiah, when the prophet asks, “How long, O Lord?” he is told it will be “until cities lie waste without inhabitant… and though a tenth remain in it, it will be burned again” (Isaiah 6:11–13, excerpts). Elsewhere we read: “seven women shall take hold of one man in that day” (Isaiah 4:1, excerpt)—a picture of how badly war will thin the ranks of men (and also a shadow of the seven churches finally clinging to one Man, Jesus.

I do not know the exact timing, but I believe World War III and the night that is coming will be devastating. It will not all happen in a single instant; Scripture hints at an ordered sequence of blows. In other articles I will dig into Illuminati symbolism that points to specific cities marked for early destruction, such as I have already done in Marks & Spencer Xmas Advert Exposed. For now, the point is simple: when the song says, “Take a long holiday,” I hear more than vacation lyrics. I hear a warning—move before the riders of the storm arrive at your door.

“Girl, you gotta love your man” – A buried gospel

Then, out of nowhere, comes a different kind of stanza:

Girl, you gotta love your man…
Take him by the hand…
Make him understand…
The world on you depends…
Our life will never end…

On the surface, it sounds like a strange love song. But listen carefully.

In Scripture, the true people of God are called the Bride of Christ. Jesus is the Bridegroom; the Church is the “girl.” Eternal life hinges on whether she loves Him, takes His hand, and stays faithful.

“The world on you depends” – in a real sense, the fate of nations hangs on whether the people of God remain loyal to Jesus or sell out to Babylon.
“Our life will never end” – that is the heart of the gospel promise: “whoever believes in him should not perish but have eternal life” (John 3:16).

I believe this is Satan mocking the gospel in plain sight.

It is as if he is saying to God:

“Look—I told them the truth right in the middle of a song about war. I told them the girl has to love her man, that eternal life depends on it. They sang along, stoned and distracted, and never heard it. Can I burn them now?”

The truth is there. Most listeners never connect it to Jesus.

Back to the Storm – The Only Shelter

After the “girl, you gotta love your man” stanza, the song slides back into the storm. The riders keep moving, the rain keeps falling, the refrain circles round and round.

“There will be… wars and rumors of wars… nation will rise against nation, and kingdom against kingdom” (Matthew 24:6–7, excerpts).

What’s missing is any real shelter—no ark, no rock, no strong tower named. The picture is simple and bleak: wars will come, killers are on the road, families will die, and you might as well drift through it half-awake, humming along. From Satan’s point of view, that is perfect. As long as people never look up, never call on the name of Jesus, the storm will sweep them away.

Scripture gives a different way to respond. God does tell His people to leave when judgment is coming—“Come out of her, my people…” (Revelation 18:4)—but not as a project of clinging to this life at all costs. Jesus said, “whoever would save his life will lose it, but whoever loses his life for my sake will find it” (Matthew 16:25). The point is not survival for its own sake; the point is obedience and trust. Sometimes He hides His people—“perhaps you may be hidden in the day of the anger of the LORD” (Zephaniah 2:3)—and Daniel is told there is blessing for “the one who waits and reaches the end” (Daniel 12:12, excerpt). Sometimes He calls us to be “faithful unto death” with the promise of “the crown of life” (Revelation 2:10, excerpt). In every case, real safety is being in right relationship with God and letting Him steer your steps—even where you live, even when it is time to go.

There really are riders on the storm. There really is a killer on the road. And there really is a “girl” whose love for her Man will never end—the Bride who takes Jesus by the hand, makes Him understand (by her obedience) that the world on her depends, and discovers that in Him her life truly never ends. The song tells the storm honestly but leaves the shelter unnamed. The question it leaves us with is simple: will we stay in the path of the storm with the killer, or step out of the car and into the hands of the only One who can carry us through it into eternal life?

“Everyone then who hears these words of mine and does them will be like a wise man who built his house on the rock. And the rain fell, and the floods came, and the winds blew and beat on that house, but it did not fall, because it had been founded on the rock.” (Matthew 7:24–25)

Black Friday by Steely Dan

A Prophetic Warning of Financial Judgment

I’ll be honest: I have never liked this song. I do not enjoy the sound, and the lyrics are not something I would ever sing along with on purpose. There are many other songs I would rather cover for Illuminati messaging.

So why Black Friday today? Because the “calendar” that flashes on screen at 1:02 happens to line up with this month (“Vendredi” is the French word for Friday), and as I write, the U.S. again seems poised on the edge of another foreign conflict that could trigger a financial “Black Friday.” I am not setting dates, and I am not claiming a Friday this particular month will be the one. But the timing is uncanny enough that I felt prompted to finally write about it.

As with the other songs in this series, I believe Black Friday is not just a quirky rock track about a market crash. I believe it is a message—told from the viewpoint of Satan—about a future day of judgment on the financial system and on the people who trusted it.

Listening to Black Friday in the First Person

Before we go line-by-line, there’s a basic orientation that, I believe, makes the whole song snap into place: Black Friday is written in the first person of Satan. The “I” who speaks expects a day of mass death, waits at the “door” to catch falling souls, gloats about “collect[ing] everything I’m owed,” and talks about staking his claim and changing his name. That is the voice of the destroyer, not of an ordinary man.

Even the band’s name points in that direction. “Dan” is the tribe that does not appear in the list of Israel’s tribes in Revelation 7, and Numbers 2 places the standard of Dan’s camp on the north side—already hinting at a northern, warlike role. Dan turned to idolatry; in Judges 18, six hundred men with weapons of war from Dan steal a carved image, a metal idol, and a priest who is happy to sell his services for money, then wipe out a quiet city and set up their own false worship there (Judges 18:11–31). The number 600 is repeated three times in that chapter—three sixes, a 6-6-6 drumbeat wrapped around a tribe marked by violence and counterfeit worship. Jacob’s prophecy over Dan was:

“Dan shall judge his people
as one of the tribes of Israel.
Dan shall be a serpent in the way,
a viper by the path,
that bites the horse’s heels
so that his rider falls backward.” (Genesis 49:16–17, ESV)

That picture—a serpent striking the horse so the rider is thrown backward—matches the pattern of Revelation 17, where the beast turns on the woman who rides it: the harlot rides the beast, the beast hates the harlot, and the beast destroys her. Dan is the tribe that bites from underneath and brings the rider down—the hidden power that helps throw the rider off the beast.

“Steely Dan” pushes that image further. The name was taken from a crude mechanical device in William S. Burroughs’ Naked Lunch—a metallic instrument of sexual penetration, violation, and domination. Symbolically, this represents a counterfeit consummation, offering temporary pleasure but not leading to life. Satan is the master of counterfeit; his “unions” corrupt rather than create. Where the true Bride of Christ will one day know a real spiritual consummation—receiving an incorruptible heart and eternal life—his false consummations leave people hollow and, in the end, under eternal death. The “steely” aspect also echoes the iron teeth and claws of the final beast in Daniel 7—cold, hard, engineered metal used to tear, crush, and conquer.

Put together, you get “Steely Dan”: a hardened, predatory Dan-system under Satan’s tutelage. These are the global schemers and elites who present themselves as virtuous—“those who say that they are Jews and are not, but are a synagogue of Satan” (Revelation 2:9; 3:9)—but whose loyalty is to the serpent.

Because Scripture is God-breathed—written by human hands but directed by the Spirit—I believe even the numerical patterns around Dan are not accidental. That repeated “six hundred” in Judges 18 is one of those patterns, echoing the 6-6-6 mark of the beast. When you hold all of that in mind, Black Friday reads like what it is: a smug monologue from the serpent-king and his tribe, celebrating the day they expect to bring judgment on a world they helped corrupt.

Verse 1 – Catching the Grey Men

When Black Friday comes
I’ll stand down by the door

The speaker is not a nervous investor—the “door” is the gate to death and hell. When the crash comes, Satan is already in position.

And catch the grey men when they
Dive from the fourteenth floor

The “grey men” are those anonymous, suited figures who run the system: bankers, traders, executives. When the system collapses and they despair—picture some committing suicide by jumping out of windows—and Satan is there to “catch” them—collect their souls.

The “fourteenth floor” carries a second layer. In many high-rises the 13th floor is skipped for superstition, so the 14th floor is really the 13th, which I believe fits a pointer to the 13th tribe as I described above. Hiding it under a “fourteen” fits how the system hides its true nature.

When Black Friday comes
I’ll collect everything I’m owed

Scripture calls Satan “the accuser of our brothers” (Revelation 12:10). He keeps record of sins and claims those who never brought their debt to the cross. On this Black Friday he is not panicking—he is collecting.

And before my friends find out
I’ll be on the road

Those who serve him now—occultists, Baal worshipers, high-level “friends”—think they are insiders. This line says the opposite. Before they realize what has really been set in motion, he is already gone. They will discover too late that they were never truly his friends; they were just tools.

Chorus – “Don’t Let It Fall on Me”

When Black Friday falls you know it’s got to be
Don’t let it fall on me

Here the voice shifts toward the crowd. On the surface, it sounds like a plea not to be ruined by the crash. Underneath, I hear a taunt: judgement has to fall; the only question is on whom. Those tied to the system—who wear the “cloak of Shinar” and trust Babylon’s money more than God—are exactly the ones who will be crushed when it collapses. (In Joshua 7, the “cloak of Shinar” is a beautiful Babylonian garment that Achan hides under his tent with stolen silver and gold. Shinar is the land of Babylon, so the cloak pictures trusting in Babylon’s wealth and security instead of God’s promise—a trust that ends in judgment.)

Verse 2 – Muswellbrook, Red Words, and Kangaroos

When Black Friday comes
I’ll fly down to Muswellbrook

Muswellbrook is a small town in Australia. Donald Fagen, lead singer, has said they chose it by putting a finger on the map at the place they thought was furthest from New York. In the context of this song, it pictures the speaker fleeing to the ends of the earth while judgment falls on the center he has been using. Black Friday is not just about a bad trading day; it hints at a Black Friday for New York itself.

Revelation 18 first speaks of Babylon’s plagues coming “in a single day” (Revelation 18:8), which I believe applies to the fall of the U.S. as a whole. Then it narrows to “one hour” judgments and a specific commercial city whose smoke is seen from the sea, and finally to a vision of a great stone thrown into the sea as a picture of that city being violently destroyed (Revelation 18:10, 17, 19, 21). In my understanding, that commercial harbor city points to New York: the financial heart of the Babylon system, destined not only for economic collapse but for a sudden, physical destruction from the sea. The voice speaking in Black Friday expects that day to come—and plans to be on the far side of the world when it does.

Gonna strike all the big red words
From my little black book

A “red-letter Bible” prints Jesus’ words in red. In this line, the speaker is not rejecting the Bible as a whole—he wants to keep the “little black book”—but he wants to erase the red. Keep the structure, keep the law, keep the language of God, but remove Christ’s voice, authority, and victory.

This is exactly how Satan works with Scripture. Paul writes that “the letter kills, but the Spirit gives life” (2 Corinthians 3:6). Satan loves the letter without the Spirit. He uses God’s good law—which no fallen human can fully keep—to condemn, control, and accuse. Jesus comes to bring mercy, a new heart, and eternal life. If you can take Jesus out of the Bible, you have a perfect control system: a religion of rules and guilt with no true forgiveness, leading only to condemnation and death.

That is why the Bible appears so often in Illuminati symbolism. Satan knows Scripture very well. He quotes it, twists it, and repackages it so that the outer form of “the Word of God” remains, but the living Word—Christ Himself—is pushed out. In that light, “striking out the big red words” is not a throwaway phrase. It is a boast about keeping the black-ink framework of religion while quietly erasing the One who gives it life.

Gonna do just what I please
Gonna wear no socks and shoes

Here the voice revels in lawlessness. No restraint, no covering, nothing between him and the dust. It is rebellion dressed up as freedom.

With nothing to do but feed
All the kangaroos

The kangaroos are a picture of the global elite who do Satan’s bidding. Satan “feeds” them with money, flattery, fame, and subservient power, and they jump when he says “jump”—and in the end he laughs at them as they go to their destruction.

Chorus 2 – On the Hill

When Black Friday comes I’ll be on that hill
You know I will

Here the speaker is looking ahead to Black Friday with confidence. “On that hill” is not just a random image; it echoes Satan’s high vantage point in the temptation of Jesus, where “the devil took him up and showed him all the kingdoms of the world in a moment of time” and then tempted Him to throw Himself down (Luke 4:5, ESV). I do not see that as just a single snapshot, but as a panoramic view across history—seven Babylon systems, all the kingdoms of the earth under his temporary authority—before the moment he is finally cast down.

So when he says he will be “on that hill,” it pictures Satan still in his high place, watching the world’s systems and waiting for the day he believes will be his great harvest. Jesus has already spoken the outcome: “I saw Satan fall like lightning from heaven” (Luke 10:18, ESV). Satan wanted the Son of God to throw Himself down; instead, Jesus refuses the temptation and, through the cross and resurrection, reverses the table—Satan is the one who is thrown down. Black Friday, in that sense, is the day he expects to stand at the pinnacle above the world one last time, just before his fall and final union with the mind of the anti-Christ in the eighth and final kingdom.

Verse 3 – Digging a Hole

When Black Friday comes
I’m gonna dig myself a hole

I see this as a foreshadowing of Revelation 12, when Satan is cast down from heaven. Revelation describes “war arose in heaven… and the great dragon was thrown down… he was thrown down to the earth, and his angels were thrown down with him,” followed by the warning: “Woe to you, O earth and sea, for the devil has come down to you in great wrath, because he knows that his time is short” (Revelation 12:7–9, 12, ESV, excerpts). In the song, Satan talks as if he is choosing to “dig” his own hole and lie down in it, but scripture shows the reality: he is forcibly expelled from heaven, locked to the earthly realm in rage—that is the real Black Friday he is preparing his followers for.

Gonna lay down in it
’Til I satisfy my soul

He lies down in that self-dug hole, determined to wring from the earth everything he can. His “soul” is only satisfied by destruction.

Gonna let the world pass by me

The world spirals into chaos; he is content to sit in his hole and watch nations devour each other.

The Archbishop’s gonna sanctify me

“Archbishop” has a double meaning. On one side, it hints at God’s sovereign permission: God allows the beast his limited season. On the other, it hints at the false prophet—a religious leader who will “sanctify” the beast before the world and tell everyone to worship him (Revelation 13).

And if he don’t come across
I’m gonna let it roll

Even if God doesn’t sanctify him, he will still rebel. Whether God allows it or not, he is determined to “let it roll”—to push sin and destruction as far as he can, even knowing the outcome is his own doom.

Chorus 3 – Staking His Claim, Changing His Name

When Black Friday comes I’m gonna stake my claim

On this day, he asserts ownership. The financial system may be collapsing, but he is staking his claim on the soul’s of the people who trusted it more than God.

I guess I’ll change my name

Before he rebelled against God his name was “Lucifer” His followers still like to use the name “Lucifer”—angel of light. Scripture, though, calls him Satan, the adversary. In the end he will be known by what he truly is. When this Black Friday plays out, the mask of “light” is gone. His “name change” is complete.

The Calendar at 1:02 – The Number of the Destroyer

Now back to the image at 1:02 in the video.

At 1:02 a calendar flashes on screen. The days of the week are in French; vendredi is Friday. In certain years and months that pattern of dates matches a real calendar—and this month happens to be one of them.

One detail that is difficult to ignore is that Saturday’s are written in red. Saturday’s are the last day of the week, and are the Sabbath, also called the Lord’s day. Saturday comes after Friday. The end times are called a dark night in Scripture (verse), and Jesus calls Himself the Bright Morning Star (Rev 22:??), who comes at the end of the dark night. So is Black Friday, a moment in time – such as a major stock market crash, a short period of time, the end times in which the U.S. is destroyed by nuclear fire and the world goes into WW3, or a whole era, from Jesus’s first coming to His 2nd coming. Some people believe the earth has eras of rough 1000 years, 4000 years before Christ, 2000 years until his 2nd coming, and then 1000 years of His reign on earth – 7,000 years – 1000 years is as a day unto the Lord (verse).

One detail is hard to ignore: Saturdays are printed in red. Saturday is the weekly Sabbath—the ordinary “Lord’s day” of rest after six days of work. Many Christians also see a prophetic pattern here: “with the Lord one day is as a thousand years” (2 Peter 3:8), so six thousand years of human history are like six days, and the seventh “day” is the thousand-year reign of Christ. In that frame, Friday is the last working day before the Sabbath rest. Black Friday can therefore be read on three scales at once: (1) a literal crash day, (2) the short end-time window when the U.S. system burns and World War III erupts, and (3) the final “Friday-era” — the sixth thousand-year span leading right up to Jesus’ return, before the red “Saturday” of His millennial reign. The red Saturdays on the calendar hint at that coming Sabbath-age Satan hates and wants to erase, just as he wants to erase the red words of Jesus from Scripture.

I believe it is all three. The red Saturday is something Satan doesn’t want. The end of the era, ending in the Lord’s Day. This aligns with Satan wanting to erase the red words from the Bible.

The timestamp itself is a message: 1:02 → 102.

In Hebrew gematria, Abaddon—“the angel of the bottomless pit” in Revelation 9—adds to 102 (https://www.gematrix.org/?word=abaddon). Scripture says of him:

They have as king over them the angel of the bottomless pit. His name in Hebrew is Abaddon, and in Greek he is called Apollyon.” (Revelation 9:11)

Apollyon means destroyer. So 102 is tightly linked to the Destroyer.:

In New York City, the Oculus building beside One World Trade opens its roof for 102 minutes once a year, marking the time between the first impact and the collapse of the second tower on 9/11. The very name Oculus means “eye”—an architectural echo of the eye of providence on the U.S. one-dollar bill.

That eye sits in a floating capstone above the larger pyramid base—a split structure that pictures his rule from the unseen realm over earthly institutions—with the Latin motto Annuit Coeptis (“He has favored [or winks at] our undertakings”) and Novus Ordo Seclorum (“new order of the ages”)—the same spirit as an “eye” that winks open for exactly 102 minutes over the rebuilt World Trade site.

So Abaddon, the destroyer, connects to 9/11 in three ways at once:

102 as his Hebrew gematria,
Apollyon meaning destroyer, and
the 9:11 chapter-and-verse reference to the angel of the pit.

In Black Friday we therefore have:

a song about a catastrophic crash,
sung in the first person of Satan,
marked at 1:02 by a calendar that matches specific real months,
branded with a number many associate with Abaddon and with 9/11.

I do not see that as random.

Does this calendar point to a real month when the U.S. financial system finally breaks? Will it fall on a literal Friday? I don’t know—but it easily could. The dollar is under pressure, and a controlled demolition of the current system would give the global elite a clean slate to roll out their “new order” under the beast.

Scripture warns that end-time Babylon’s judgment comes suddenly: “her plagues will come in a single day… she will be burned up with fire” (Revelation 18:8), and three times merchants lament that “in a single hour” her wealth is laid waste (Revelation 18:10, 17, 19). Jeremiah speaks of God bringing “a destroyer at noonday” so that terror falls “suddenly” (Jeremiah 15:8). That is exactly the flavor of Black Friday: a last dark Friday-era, a destroyer coded as 102, and a collapse that comes faster than anyone expects.

How This Fits the Larger Pattern

In other articles on this site, the pattern is similar: coded numbers, images of burning Americans, and a mocking tone toward people who never notice what is being shown to them.

Here, Black Friday fits into that same pattern, but focused on the financial side:

The destroyer stands ready at the “door” while grey men dive from towers.
The Bible is kept, but the red words of Jesus are struck out.
Servants are just “kangaroos” to be fed until they fall.
A pit is dug; a counterfeit “sanctification” is given; a claim is staked.
The calendar at 1:02 quietly stamps the whole thing with the number of the destroyer.

In your own life, this raises a simple question: Where is your trust?

If our security is in the markets, in digital accounts, in Babylon’s paper promises, then a real Black Friday—whenever it comes—will be terror. That is the “cloak of Shinar”: covering ourselves with a garment of financial confidence instead of trusting the God who judges the system.

If our security is in Jesus, then even a Black Friday becomes something different. It is still painful; it may cost us dearly in earthly terms. But it is no longer the day the destroyer “collects what he is owed.” Our debt has already been paid.

I am not timing the market, and I am not setting dates. What I am saying is that songs like Black Friday are not accidental. They are part of a long-running pattern of messaging in music—taunting hints from powers that think they are untouchable and warnings for anyone with ears to hear.

The wise response is not to decode every date, but to move our trust off Babylon’s books and onto the One who cannot be shaken, before the real Black Friday comes.

American Pie – Part 2

Madonna’s “American Pie”: The Simple Code

In Part 1, I argued that American Pie is not just a nostalgic song about the 1960s but a prophetic warning about the fall of America—Rome burning in modern clothes. Don McLean has now admitted that politics and music are flowing together in the song, and that the verses grow “more dire” until the end. I also introduced the “deleted verse” with its five-year marker and why I believe that timing could only have come from God.

Now we turn to Madonna’s version of American Pie.

On the surface, it is shorter and lighter. But, it functions as a kind of “primer” or simple code. It introduces key symbols—numbers like 1:01 and 1:59, colors like red and black, the “Rebels” cheerleaders, the “sacred store,” and the final flag—so that once you see them here, you can recognize the same pattern in more complex videos, especially in the video made for McLean’s version of the song.

This is a version of the video I reference in this article: https://www.youtube.com/watch?v=PRa9ulVPZYA. In earlier versions, some of the images were clearer, especially the frame at 1:59. In this version that frame has been slightly blurred, but it still shows enough that, if you slow the playback, you can see the shape. I kept an older copy of some of the images, so where the newer version has been softened I will use still images from the original.

In Part 1 I mentioned how all versions of the American Pie videos briefly disappeared from the internet after I contacted McLean’s agent; to me, this later “cleanup” of the 1:59 frame fits the same pattern of quiet sanitizing.

The Jester at 1:01 – 101 as a Gateway

At 1:01 into Madonna’s video, we see a figure that looks like a Baphomet-style jester, framed between two women and holding a teddy bear. One woman is dressed in red, the other in black.

This is the “jester” figure McLean hinted at in his interviews—a real man in our time tied to politics, not just a generic clown. Here he is shown in a demonic form, like a Baphomet, with two spirit-like or coven-like women beside him. His mouth is painted black to illustrate that he will speak words from the kingdom of darkness. He stands slightly in front of the two women, to show that he is coming out. The teddy bear serves as a third spirit, completing the picture of three spirits around him and echoing Revelation 16:13: “And I saw, coming out of the mouth of the dragon and out of the mouth of the beast and out of the mouth of the false prophet, three unclean spirits like frogs.”

The timestamp 1:01 itself is important. “101” is symbolic of a gateway or portal between two temple pillars, and since first noticing it here I have found anti-Christ figures appearing at 1:01 in several other videos that use similar symbolism.

Red and black are not random fashion choices. They are the colors associated with the coming New World Order—the end-time beast system of Revelation. So in one frame we have:

a jester / Baphomet figure,
framed between two “pillars” (the women),
at 1:01 (a gateway),
in red and black (beast colors),
surrounded by three symbolic “spirits” echoing Revelation 16:13.

This is the enemy quietly flagging: Here is the birth-gate for the anti-Christ system.

The Demon at 1:59 – Birth of the Anti-Christ

At 1:59 into the video, for a single frame in the original version, there is an image that looks like a demon emerging from between spread legs—like a birth. You need to slow the playback to 0.25x speed and tap play/pause around 1:58–1:59 to catch it. It forms and disappears very quickly, and in the newer version it’s not quite as well defined.

If the jester at 1:01 marks the gate, the demon at 1:59 marks the birth. This is not random art; it is a symbolic “delivery” of the antichrist into the world system.

The number 1:59 (or simply “159”) shows up repeatedly in Illuminati-style symbolism. Alongside 101, it is one of the timing marks I notice often. In brief, the “1” points to the “little horn” from Daniel’s visions (in Daniel 7 and 8), and “59” functions as a numeric marker for the antichrist—something we will unpack more fully in Part 3. Madonna’s video uses both:

1:01 – gateway / conception
1:59 – birth

Together, they form a pattern: a spiritual conception of the anti-Christ at 1:01 and his “birth” into the world system at 1:59.

In Part 3, we will look at how the McLean video and the Skull and Crossbones logo reinforce this same 1:59 pattern and confirm the 59 gematria behind it. If you learn these marks, you will start to notice them in many places. For example, on my Turkcell cellphone, *101# tells me my phone number and *159# gives my account balance. Coincidence? I think not.

A later echo of the same image is the She-Guardian statue that stood at Marble Arch in London from 2015 to 2016—a winged, dog-like “guardian” with its mouth open, 11 meters (36 feet) high.

To me, it looks like the same winged dog demon from 1:59, now grown and enthroned in a London gateway rather than still “in the womb” of the Madonna video. In my reading, the height itself is part of the message: 11 is a common Illuminati number, and 36 is a pyramid number whose sum from 1 to 36 equals 666—a shorthand for the beast.

Seen together, the jester at 1:01, the demon at 1:59, and She-Guardian sketch a sequence: conception, birth, and public maturity of the same beast system.

The Football Team – 6 vs 7 in Plain Sight

Madonna’s video gives one of the simplest number codes through the football team.

At 3:20, we see an American high school football team posed in front of the U.S. flag. The quarterback wearing number 7 leads, calling the plays.

Later, at 3:56, the scene returns. This time another quarterback wearing a 6 steps forward to take his place. The 6 on his jersey is just slightly higher than the 7.

This is very common Illuminati symbolism. 7 is God’s number (our Creator rested on the 7th day), and 6 is the number of man (God created man on the 6th day). When you see 6 over 7, it pictures the doctrine, held by globalists and Satanists, of man’s ascension through knowledge to lift himself above God. I have pointed out the same pattern in my Marks & Spencer article, and you can see it in everyday products as well, such as these of Union Gas (Rockefeller) and Molson Canadian beer:

Notice how in each logo the “6” rides a little higher than the “7.” The same story: man rising above God, breaking His rule, “improving” on His design. In short, 6 v 7 represents the rebellion of man against God. In these end days, the rebellion will be led by a man commonly referred to as the antichrist:

The Bible describes him this way:

“Let no one deceive you in any way. For that day will not come, unless the rebellion comes first, and the man of lawlessness is revealed, the son of destruction, who opposes and exalts himself against every so-called god or object of worship, so that he takes his seat in the temple of God, proclaiming himself to be God.” (2 Thessalonians 2:3–4, ESV)

The number 42 is an extension of the 6 v 7 symbolism. 42—6 x 7—pictures man in an extended, head-on collision with God. It is not an accident that 42 keeps surfacing at moments of judgment. In 2 Kings 2, forty-two boys are judged by two bears after they mock God’s prophet. In Revelation, the beast is given authority to act for forty-two months. Even the structure of Daniel quietly echoes it: Daniel 7 shows war between four beasts (World War III), and Daniel 8 shows two beasts (World War II)—a 4-2 pattern that again ties 42 to end-time conflict.

The two bears in 2 Kings 2 are a picture of the two witnesses of Revelation 11, who will confront the nations when mankind is in open rebellion against God. So 6 v 7 is the rebellion of man versus God, and 42, as 6 × 7, is that rebellion reaching its appointed climax.

The center of The Hitchhiker’s Guide to the Galaxy is a supercomputer that announces “the ultimate question of life, the universe, and everything” is 42. Satan is speaking plainly: the meaning of life is 42—the clash between 6 and 7, man and God. Anyone who knows the Bible can see the symbol, but our culture has thrown away both Scripture and acknowledgement that Satan is the prince of this world (1 John 5:19). The message is clear; what is missing is the biblical lens to recognize what is being said.

Madonna’s football sequence uses exactly that language. First, 7 leads the team – our nation tries to let God lead. Then 6 steps up and visually overtakes him – then we rebel against God and try to lead ourselves. That is the backbone of the 6 vs 7 symbolism we will see again in the cheerleaders and in later videos, which shows us how it will end.

The Cheerleaders – From Patriotism to Mind-Controlled Subservience

The cheerleaders appear several times, together telling a dark story of descension of the nation from our Patriotic beginning to beast-like servitude.

Patriotic Rebels

At 2:17, and earlier, they look like stereotypical American high school cheerleaders: energetic, smiling, and clearly framed by the American flag. Their uniforms say “Rebels.”

The “Rebels” uniforms stand for patriotic Americans who see themselves as willing to resist tyranny. This taps into the mythos of the American Revolution, the “land of the free and the home of the brave,” and slogans like “Live Free or Die”—the motto of my home state, New Hampshire. These are the people who think of themselves as on the side of freedom, rule of law, and the Constitution.

Controlled Rebellion – Antifa Echoes and 2:01

In some shots, including this one at 2:01 in the video, another layer appears. Over the dancing “Rebels” you can see strange, curved shapes superimposed on the image—almost like scattered puzzle pieces.

A friend who reviewed my earlier analysis pointed out that these shapes resemble the shape of the Antifa logo: which also uses red and black.

Here is how I read this: the rebel ethos that originally gave us constitutional freedoms has been hijacked. Instead of fighting for true liberty under God, people are channeled into street movements where “rebellion” is carefully controlled. The same spiritual power that once encouraged real resistance now directs rage against a contrived enemy, driving us toward a new global system.

Antifa demonstrations erupted in many countries, not just the U.S., and their colors are the same red and black we keep seeing linked to the beast system. The branding itself says “anti-fascist,” and we are trained to think the opposite of fascism is communism. That connects neatly with McLean’s lyric: “And while Lennon read a book on Marx.” The rebellion of the “Rebels” is being turned toward a Marxist-style street uprising, still under the authority of the same dark ruler.

The timestamp matters too. This frame sits at 2:01.

201 = 3 × 67
Three of something often marks it as firmly established.
67 is another 6 vs 7 marker: 6 (man) against 7 (God).

So the 2:01 mark quietly says: the rebellion of man against God (6 vs 7) has been fixed and set. The “Rebels” now march in a pattern that serves the same powers they think they are resisting.

New World Order Reset

Later (around 3:52), we see the same group again. This time a rainbow-like overlay runs down their uniforms and their raised arms block the word “Rebels.”

The message is simple: the same “rebels” have been repainted. The rainbow overlay and blocked text picture a shift:

from patriotic resistance to serving a new global order,
from “we will not bow” to “we are happy to dance for the system.”

The people who still think of themselves as freedom-loving rebels have been rebranded as cheerleaders for the New World Order.

The Final Stage – Dehumanization

At 3:19, the cheerleaders appear a a far more disturbing form.

They are no longer upright, smiling “Rebels.” Instead they are crouched on all fours, as if bowing or waiting for a command.

In the following cropped close-up, one girl in particular looks less like a person and more like a dog. Where her head should be, the distortion forms a dog-like shape with what looks like a red collar around the neck:

For me, this is not just a strange visual effect. It is a picture of what the beast system wants to do to human beings: take people who once stood upright as image-bearers of God and reduce them to obedient, animal-like subjects. The girls who began as bright, patriotic “Rebels” have been spiritually bent down and blurred into something beastly, depraved—no longer free, no longer truly human, but performing on command for the very system that has captured them.

Jesus warns that those who cling to rebellion and falsehood will end up outside the city of God:

“Outside are the dogs and sorcerers and the sexually immoral and murderers and idolaters, and everyone who loves and practices falsehood” (Revelation 22:15).

In other words, the depraved “dog” condition is the end of a road people choose, loving and practicing lies until those lies reshape them. They cooperate with the antichrist system’s lie, and in the end they lose their freedom, their dignity, and their souls. But that fate is not forced on anyone. In the McLean video we will see the contrasting path: what happens to those who refuse the beast and become faithful to Christ.

The Cheerleader / Football Flow – Four Stages

Putting the football and cheerleader imagery together, the simple code looks like this:

Stage 1 – True freedom and right order: #7 leads the team; “Rebels” are tied to the American founding, law, and real resistance to tyranny.
Stage 2 – Hijacked rebellion: at 2:01, puzzle-piece shapes and red/black Antifa echoes show rebellion redirected into controlled street movements and Marxist-style activism (201 = 3 × 67, the rebellion of man against God set in place).
Stage 3 – New World Order compliance: rainbow overlays and blocked “Rebels” text show those same patriots rebranded as servants of a global system.
Stage 4 – Beast-like subjects: animal-headed cheerleaders picture the final result—people spiritually conformed to the beast, no longer bearing the visible image of God.

This is the end of the arc we have been tracing: from patriotic resistance, to controlled “rebellion,” to a New World Order rebrand, and finally to dehumanized, beast-like subservience—the real result of the 6-over-7 lie, where the promised ascent of man to “godhood” ends not in glory, but in the loss of both human dignity and freedom.

The Sacred Store and the Gatekeeper

At 2:27 the lyrics say:

“Well, I went down to the sacred store
Where I’d heard the music years before…”

The “sacred store” is a gun shop: a man and woman standing in front of the U.S. flag with rifles and handguns laid out on the counter.

It symbolizes the right to bear arms—what many Americans treat as a sacred foundation of their freedom under the Second Amendment. They lyrics continue “but the man there said the music wouldn’t play”, hints that constitutional freedom has been silenced and Americans are no longer able to stand up to tyranny.

At 2:30, the scene shifts to a laundromat. A shirtless man leans on a row of industrial washers, with U.S. flags hanging in the background and there is a 13 under the circular door he is leaning on.

This scene was brighter in original version of the video, and these important details are easier to see:

They are still there in the current version, but are difficult to see because they have been darkened out.

This is not just any man. If you compare the faces carefully, he is the same jester figure from 1:01—now older and without the Baphomet costume. He stands in front of the discarded flags, physically blocking the way to them. Our access to liberty is cut off.

Americans have been “taken to the cleaners.”

There is a dark blotch around his navel—he has been born of spiritual darkness—the same anti-Christ / jester figure, now revealed without disguise.

Under the circular door he leans on is the number 13, making that door look like a spiritual gateway stamped with 13. It connects with what I call the “13th tribe,” Dan, which is missing from the list of tribes in Revelation 7. I explain this more fully in my Black Friday (by Steely Dan) article, but the short version is this: Jacob prophesies that “Dan shall be a serpent in the way, a horned serpent by the path, that bites the horse’s heels so that his rider falls backward” (Genesis 49:17). Revelation 17 shows the same pattern when the beast turns on the harlot who rides it and throws her off. The serpent tribe brings down the rider.

Reinforcing this view, he has several tattoos; one over his heart looks like a coiled or curved figure, suggestive of a serpent over the heart—the horned serpent of Dan, not a shepherd’s heart.

Furthermore, when a ruler takes off shirt, it symbolically means he intends to stay in power or come back to power by force. Both Putin and the man that has declared himself to be the antichrist (who we will cover in different posts) have taken off his shirt to pose for a photo opt for public consumption. When the man that has declared himself the antichrist revealed this image, he referred to Putin’s similar photo opt to point viewers to the meaning.

So in this laundromat scene, the jester:

Blocks the discarded flags (freedom cut off),
Leans on a round door marked 13 (Dan’s serpent gate),
Bears serpent-like ink over his heart (a serpent-hearted ruler),
Is marked by a dark navel (born out of spiritual darkness),
Is shirtless (indicating he intends to come to power by force, not by law or election).

Earlier in the video, at about 2:16, we are shown a different kind of “navel sign.” A young woman lifts her shirt to reveal her belly. Around her navel, in a circle, are the words “I love you.” She stands between two other people, echoing the three-figure framing at 1:01.

Again, the focus is on the navel—a place of birth and connection—another human “portal” between two “pillars.” In my understanding, she represents Lady Liberty / America. Where the jester’s navel is a dark stain in the laundromat, hers is ringed with “I love you.” America is being pictured as loving the very spiritual darkness that is about to destroy her.

Taken together, these scenes say a lot in a very short span of time:

The sacred store of American freedom is reduced to a gun shop whose song is about to be silenced.
The jester / anti-Christ figure reappears as a shirtless gatekeeper, serpent-hearted, born of darkness, blocking the path to the discarded flags and leaning on a “13” doorway.
Lady Liberty is shown earlier as embracing that darkness at her own spiritual center, “loving” what the dark navel in the laundromat reveals.

The message, as I read it, is blunt: Americans have been taken to the cleaners. The old freedoms are quietly being removed, the gate to true liberty is closing, and a serpent-hearted ruler from the line of rebellion stands at the door—while the nation itself says “I love you” to the darkness that is leading her out of the sacred store and into judgment.

The Church Bells All Were Broken

At 2:51, when Madonna sings “the church bells all were broken,” she does it with a triumphant, joyful tone. The scene is upbeat, arms raised, flag behind her.

When Don McLean sings the same line in his own performances, his tone is mournful. In at least one early performance you can see tears in his eyes as he sings; the whole moment feels like grief, not victory.

In Madonna’s version, “…the church bells all were broken, the three men I admire most, Father, Son and Holy Ghost, took the last train for the coast the day the music died” lands like an accomplished goal—the end of Christianity’s influence in America, celebrated on stage.

In McLean’s, it sounds like a funeral tolling. That contrast matters. It marks the difference between someone celebrating the new order and someone who, at least at the time of writing, felt the weight of what was being shown to him.

The Final Flag – 101 and “66”

Madonna recorded more than one video for American Pie. In one version, the final scene includes an explosion and a bright flash of light.

It is hard to pin down a serpent because it keeps slithering away from the truth. This video has done the same thing. Years ago, after the flash faded, there was one extra beat where the American flag was replaced for a split second by another image. That beat is now gone.

The replacement image has a “101” structure. The central “0” is shaped so that it appears to have six sides on the outside and six sides on the inside—a hidden “66” associated with the “0.” You can see that in the screen shot of the earlier version the runtime was about a second longer (4:36, 4:35 of the current version), which fits with this final frame being removed.

If you compare the length of the video, to the video at the URL now, you will see in the video used to be one second longer, evidence that this scene was cut out.

Here again we see the 101 gate with a “66” hidden inside it. Sixty-six is 11 × 6 and is commonly used in Illuminati symbolism to represent rebellion or a change of government. D-Day was on June 6 (6/6), and in Star Wars, Order 66 causes the clones to change allegiance and destroy the guardians of the old Republic, the Jedi. It also shows up in the Gotthard Tunnel opening ceremony and is a symbol of the “Ring of Six” ritual—honoring six Egyptian gods, the parting of the astral veil, and the resurrection of Osiris. I plan to cover the Gotthard Tunnel ceremony in a future post.

So this closing sequence shows the U.S. flag flashing out and a 101/66 gateway flashing in: the old nation taken down, a beast-system government taking its place, and the anti-Christ rising from what Scripture describes as a mortal head wound:

And I saw one of his heads as it were wounded to death; and his deadly wound was healed: and all the world wondered after the beast. (Revelation 13:3)

I am convinced that healed wound is the moment of consummation of a man with the spirit of Satan—the point where the man finally becomes the antichrist in full.

Why Madonna’s Version Matters

Madonna’s American Pie is shorter than the original and lacks much of McLean’s lyrical complexity. But symbolically, it is not simple at all. It introduces, in plain sight:

The jester/Baphomet gateway at 1:01 (the 101 marker in red and black, framed by three “spirits”).
The demon “birth” at 1:59 (the 159 marker), later echoed in the She-Guardian statue in London.
The football sequence spelling out 6 vs 7 in plain sight—man rising over God, tied to the wider 6×7 / 42 pattern we see elsewhere.
The cheerleaders’ arc: clean-cut patriotic “Rebels” → Antifa-coded controlled opposition at 2:01 → rainbow-washed servants of a new order → dehumanized, almost animal-like subjects on all fours.
The “sacred store” recast as a gun shop—American freedoms (especially the right to bear arms) quietly put under glass.
The laundromat jester as an older, shirtless gatekeeper: a darkened navel, serpent-like tattoos, leaning on a “13” doorway and standing in front of discarded flags, paired with Lady Liberty’s “I love you” navel—America loving the darkness that will judge her.
The final 101/66 flag: the old banner flashing out, a beast-system gateway flashing in, hinting at a change of government and the rise of the anti-Christ after his “healed” wound.

If Part 1 laid the foundation by listening to what Don McLean has now admitted and by looking at the deleted verse, Part 2 gives us the basic “alphabet” of the symbolism: numbers (101, 159, 6 vs 7, 13, 66), colors (red, black, rainbow), roles (jester, rebels, gatekeeper), and key images (birth, portals, flags, beasts).

In Part 3, we will return to McLean’s own American Pie video and walk through it in detail—scene by scene—to decode the core Illuminati numbering behind it and to see how the same code appears there: the rise of a particular jester figure, a manipulated civil conflict, and the crushing of those who will not bow to the new order. Part 4 will then gather those decoded symbols into a plain narrative of what they say about America’s future.

The Marriage Supper of the Lamb – Part 3

Bearing Offspring: The Righteous Deeds of the Bride

In Part 1, we looked at the marriage supper as a present reality: Jesus feeding us with His flesh, the pure Word of God, and calling us to gather that heavenly manna every day.

In Part 2, we focused on the cup — drinking His blood — receiving the Holy Spirit so that the Word becomes alive inside us. Without the Spirit, even the most accurate Bible reading remains dry and lifeless. With the Holy Spirit, the same words become living bread and living wine.

In this Part 3, we look at what that living Word and living Spirit are meant to produce: offspring for the Bridegroom. The Bride is not only invited to eat and drink; she is called to bear fruit, to bring forth spiritual children before the consummation of the marriage in the next age.

The Betrothed Who Bears a Son

Scripture gives us a clear picture of a virgin, betrothed but not yet married, who nonetheless bears the promised Son:

“Behold, the virgin shall conceive and bear a son,
and shall call his name Immanuel.”
– Isaiah 7:14; Matthew 1:23

Mary is still a virgin, still only betrothed to Joseph when she conceives by the Holy Spirit. She is not yet in the fully consummated marriage, yet she already bears the Offspring of promise.

This is a pattern for the Bride of Christ.

The Church is the betrothed Virgin Bride.
The marriage (union in the fullest sense) is still future.
Yet in this betrothal period, the Bride is already called to bear the Bridegroom offspring.

We see the same pattern already hinted at in the test of the unfaithful woman (Numbers 5:11–31), which we looked at in Part 2. If she is found faithful, she does not merely survive — she bears her husband offspring. Faithfulness in the testing leads to fruitfulness.

In the same way, the faithful Bride of Christ is not only preserved; she is made fruitful. She bears Him children — not physical children, but spiritual offspring: lives brought to Him through His living Word and Spirit working in and through her.

The Jealous Husband and the Bridegroom of Blood

The jealousy of God for His Bride appears throughout Scripture. On the road back to Egypt, after Moses has delayed circumcising his son as God had commanded, the Lord meets Moses in judgment. It is a strange and sobering scene:

24 At a lodging place on the way the Lord met him and sought to put him to death. 25 Then Zipporah took a flint and cut off her son’s foreskin and touched Moses’ feet with it and said, “Surely you are a bridegroom of blood to me!” 26 So he let him alone. It was then that she said, “A bridegroom of blood,” because of the circumcision.
– Exodus 4:24–26

The Lord is confronting Moses, because the covenant sign of blood has been neglected. Circumcision belongs to God; Zipporah’s act of obedience and the shedding of blood turn away death.

Who commanded circumcision — Moses or God? It is God who requires it. Circumcision is a sign in the flesh that belongs to Him. Prophetically, it points to the circumcision of the heart, a heart opened to God, separated for Him, willing to be changed.

Jesus is the true Bridegroom of blood:

He purchased the Bride with His own blood.
He calls us to open our hearts, to let Him cut away what does not belong to Him.
He insists on ownership: we are not our own, we are bought with a price.

This is not about us making ourselves perfect. It is about not hiding from His claim on us, not resisting His jealous love. We bring Him a washed, honest heart; He does the deep changing and cleansing over time.

Pain in Childbearing, Sweat in the Field

After the fall, God speaks to the woman and to the man:

To the woman he said,
“I will surely multiply your pain in childbearing;
in pain you shall bring forth children.
Your desire shall be contrary to your husband,
but he shall rule over you.”
– Genesis 3:16

There is a natural meaning here, but there is also a prophetic picture:

The woman is a picture of the Bride.
The children are spiritual offspring.
The husband is Christ.

We have a nature that is contrary to our Husband’s will, but we are called to come into obedience to Him. The Bride will bring forth children, but not without pain, struggle, and conflict with her own nature.

Then to Adam He said,
“Because you have listened to the voice of your wife,
and have eaten from the tree about which I commanded you, saying,
‘You shall not eat from it’;
Cursed is the ground because of you;
In toil you will eat of it
All the days of your life.
18 “Both thorns and thistles it shall grow for you;
And you will eat the plants of the field;
19 By the sweat of your face
You will eat bread…”
– Genesis 3:17–19a

The ground, “cursed” and full of thorns and thistles, is a picture of the soil of human hearts. In toil we bring the Word of God to this ground so that it may bear fruit. The thorns are the cares, worries, and deceitfulness that choke the Word. The thistles are false teachings and worthless ideas that compete with it.

Jesus makes this picture explicit in the parable of the sower (Luke 8:4–11). The seed is the Word of God. Different kinds of soil receive it differently. The harvest depends not just on sowing, but on the condition of the heart.

So:

The Bride’s calling is to labor in this “field,” sowing the Word.
There will be sweat, thorns, and resistance.
This age is the season of toil and sowing; the next age is the rest and full harvest.

Even the garments of the priests picture this.

“They shall have linen turbans on their heads, and linen undergarments around their waists. They shall not bind themselves with anything that causes sweat.”
– Ezekiel 44:18

In the inner courts they were not to wear anything that caused sweat. Prophetic picture:

In this age (outer court / outer sanctuary), we labor and “sweat” in ministry and obedience.
In the next age (inner sanctuary), it will be our very nature to serve without “sweat” — without inner conflict.

For now, we sweat and labor to bring the harvest of souls, the offspring of Christ.

Washed with the Word, Clothed in Fine Linen

Paul pulls the picture together in Ephesians 5, where he speaks of husbands and wives and then says plainly that he is really speaking of Christ and the Church:

Wives, be subject to your own husbands, as to the Lord. 23 For the husband is the head of the wife, as Christ also is the head of the church, He Himself being the Savior of the body. 24 But as the church is subject to Christ, so also the wives ought to be to their husbands in everything.

25 Husbands, love your wives, just as Christ also loved the church and gave Himself up for her, 26 so that He might sanctify her, having cleansed her by the washing of water with the word, 27 that He might present to Himself the church in all her glory, having no spot or wrinkle or any such thing; but that she would be holy and blameless. …
31 For this reason a man shall leave his father and mother and shall be joined to his wife, and the two shall become one flesh. 32 This mystery is great; but I am speaking with reference to Christ and the church.
– Ephesians 5:22–27, 31–32

Jesus is actively preparing the Bride:

He washes her with the water of the Word.
He is preparing to present her to Himself, without spot or wrinkle, holy and blameless.
The end goal is union: “the two shall become one.”

That consummation is not mainly about scenery or a change of location; it is about God giving us a truly new, perfect heart — the “white stone” with a new name (Revelation 2:17), His own nature written within. Only with hearts like His can paradise truly be paradise. With all the knowledge and glory of the age to come, if our hearts were still crooked we would only build new towers of Babel; with perfect hearts, love for God and for one another finally becomes our nature instead of a struggle.

Revelation gives us the same picture from heaven’s perspective:

“Let us rejoice and exult
and give him the glory,
for the marriage of the Lamb has come,
and his Bride has made herself ready;
8 it was granted her to clothe herself
with fine linen, bright and pure”—
for the fine linen is the righteous deeds of the saints.
– Revelation 19:7–8

Notice the tension:

“It was granted her” – the linen is a gift of grace.
“The Bride has made herself ready” – she has a role.
The linen is described as “the righteous deeds of the saints.”

These deeds are not the Bride trying to earn love. They are the fruit of a heart that has been:

Washed by the Word.
Filled and led by the Spirit.
Brought into obedience to Christ’s purposes.

Those deeds are part of her wedding garment.

Revelation also says:

“Blessed are those who wash their robes, so that they may have the right to the tree of life…”
– Revelation 22:14

The washing is now. The tree of life and the full access belong to the next age. The marriage supper prepares the Bride’s garments; the actual marriage is when she stands before Him fully clothed in what His grace has produced in her.

The Bride’s Commission: Bearing Offspring

Jesus sums up the Bride’s commission in what we often call the Great Commission:

“Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you…”
– Matthew 28:19–20

This is not a command to run religious programs; it is a call to live as His sons and daughters, truly fruitful:

“Make disciples” – bring forth spiritual children.
“Teaching them to observe” – passing on the Word in a way that leads to obedience.
“I am with you always” – the Bridegroom’s presence with His Bride as she labors.

When we:

Eat the Word (Part 1),
Drink the Spirit (Part 2), and
Walk out what He shows us (Part 3),

Like a good tree that naturally bears good fruit, a heart filled with His Word and Spirit naturally overflows. Others are touched, awakened, drawn, and discipled. Christ’s own life in us begins to show itself. His life in us does not end in us; it multiplies.

The faithful Bride does not only “pass the test”; she becomes fruitful. She brings the Bridegroom offspring by sowing the living Word in the power of the Holy Spirit.

There is a cost to this fruitfulness. The church was built on the blood of martyrs, and Scripture says, “Precious in the sight of the Lord is the death of his saints” (Psalm 116:15). Jesus calls a Bride who does not “love [her] life even unto death” (Revelation 12:11). The key is not heroic willpower, but love that begins to outweigh fear: love for Him, and love for others who will otherwise face eternal loss. A faithful wife cares more about what her husband thinks than the opinion of the crowd; in the same way, the faithful Bride of Christ cares more about honoring Him and rescuing souls than about her own comfort or reputation. From that kind of heart, boldness can rise when circumstances demand it.

Not Earning, but Responding

It is important to keep the order clear:

He loves and chooses first.
He invites us to the marriage supper now: to eat His Word and drink His Spirit.
As we keep coming with a washed, honest heart, He changes us from the inside out.
Out of that changed heart come righteous deeds and spiritual offspring.

We are not trying to earn the marriage. We are responding to His love and His calling:

We keep bringing our hearts to be washed.
We keep coming to the table.
We keep saying “yes” to the small obediences He shows us.

The fruit — the deeds, the offspring — is the result of His life in us.

Living as the Betrothed Bride

So where does this leave us now, in very practical terms?

The marriage supper is here and now, on earth, in this age.
The marriage — the full union, the unveiling in the Holy of Holies — is still to come.
In this betrothal period, the Bride is called not just to eat and drink, but to bear fruit.

To live as the Betrothed Bride means:

Eating His flesh – feeding daily on the Word with a washed, honest heart.
Drinking His blood – asking and allowing the Holy Spirit to make that Word alive and to change us.
Bearing offspring – letting that living Word and Spirit flow through us to others so that Jesus gains children, not just attendees.

The Betrothed—the virgin who bears offspring before the consummation—has made herself ready with righteous deeds here on earth. Those deeds flow from a Word-filled, Spirit-filled heart that brings forth spiritual children for the Bridegroom.

The veil into the Holy of Holies, the full unveiling of the marriage itself, belongs to the next age. For now, we remain in the outer sanctuary of this present age, being washed with the water of the Word and filled with the Spirit (Ephesians 5:26; 5:18). If we will stay at the table and in the field—Word, Spirit, and obedient deeds together—He will make us ready:

Ready to endure the coming night,
Ready to bear Him offspring in this age,
And ready to stand—washed, faithful, and longing for that perfect heart—when the consummation itself comes.

On that day He will give each overcomer “a white stone, with a new name written on the stone that no one knows except the one who receives it” (Revelation 2:17)—a picture of a new, perfect nature that does not erase the unique identity He gave us, but fulfills it.

Then in the next age, the marriage itself is revealed and God gives His Bride that new, perfect heart that makes true paradise possible for all eternity.

“How Bizarre” by OMC

Clowns, a Ringmaster, and Nuclear Fire

If you feel the world is getting stranger by the minute, you are not alone. I don’t think many people could have imagined the world we live in today, ten years ago.

Across the world, something feels off. We watch governments in completely different cultures roll out the same policies at the same time, often against the clear will of their own people. Unelected “experts” and global bodies have somehow become the official purveyors of truth. Election after election, nations cry out for one direction and get leaders who do the opposite. Instead of pursuing truth that could bring unity and peace, our institutions seem to specialize in narratives that divide. The systems that were supposed to protect us look broken, and the news can no longer tell a story straight. It is more than just bizarre now; it is getting scary.

The Bible says, “The coming of the lawless one is by the activity of Satan with all power and false signs and wonders” (2 Thessalonians 2:9), and also that “the whole world lies in the power of the evil one” (1 John 5:19). In other words, there are real spiritual powers behind what we see. They do not only push policies and laws; they also know how to speak to us directly—through films, music videos, news narratives (including staged events), public ceremonies and rituals, the symbols they scatter across our world, and very often through popular music.

I believe some songs are literally messages from the future, passed down through spiritual powers who can see what lies ahead and who share it with their servants. Those servants then encode it in lyrics, videos, and symbolism that are “hidden in plain sight.”

One of those songs, I believe, is “How Bizarre” by OMC.

In this article I simply walk through the evidence so you can decide for yourself.

The World in a Chevy ’69

We will get to the video messages later. First we will cover the lyrics. The video we will work from is here: https://www.youtube.com/watch?v=C2cMG33mWVY

At first glance, the song is just a quirky story: driving in a car, police lights, strange scenes, and the repeated chorus, “How bizarre.” But when you look at the phrases together, it starts to read like a parable of our political circus.

Here is how I understand some of the key lines.

“Red-blue lights flash”

This is not just about police. Red and blue are the colors of the two major political camps or controlled opposing powers—a Hegelian dialectic. The sirens of crisis, outrage, and “emergency” are always flashing. Both sides use them to keep their followers in a constant state of alarm, to manufacture conflict, and then to justify the ultimately designed outcome: a major change, a “new solution.”

“Chevy ’69”

In occult symbolism, 69 is often associated with inversion (swapping good and evil) and the “devil’s number.” The picture here is of a car—society, the system, or the coming ruler—powered by that dark source. The officer tells them to “step out onto the line” – to do what ordinary people are supposed to do: follow orders and stay inside the rules of authority. “Pele preaches words of comfort” – a soothing, virtue-signaling narrative to make it all sound reasonable. But because they are riding in the devil’s vehicle, they are waved through. Those who serve the system are not harassed; they are carried by it. The rules are for everyone else.

“Destination unknown”

After the officer waves them on, the lyric says “destination unknown.” But the way he sings it, it sounds more like “destination un-no-one”—a stuttered double negative that hints at something darker: a destination where no one is left. It fits Satan’s nature and the prophetic picture of the end, where the path the world is on does not lead to a stable new order, but toward the attempt to erase whole populations:

“And if those days had not been cut short, no human being would be saved.” (Matthew 24:22, ESV)

In that light, “destination unknown” sounds less like being lost on a road trip and more like a coded pointer to where this whole circus is actually headed.

“A freshly pasted poster reveals a smile from the past”

This speaks of a familiar smiling political figure from the past being brought back to center stage. It points to the anti-Christ figure the Bible describes as one who “was, and is not, and is about to rise from the Abyss” (Revelation 17:8, ESV), a ruler who seems gone but then returns.

Revelation goes on to say of this same figure: “they are also seven kings…As for the beast that was and is not, it is an eighth but it belongs to the seven” (Revelation 17:10–11, ESV, excerpt). In other words, he first appears as one of the rulers of the seventh “Babylon” system, and then becomes the king of an eighth and final world order before the return of Jesus.

In that light, the “smile from the past” is more than nostalgia. It is a poster announcing the return of a leader the world already knows—one who will step back onto the stage with far more power the second time.

“Elephants and acrobats, lions, snakes, monkeys…”

Our leaders and institutions are portrayed as circus acts: elephants (Republicans), acrobats (talking heads who promote manipulative narratives with verbal gymnastics), lions (devouring opponents with accusations), snakes (deception and lies), and monkeys (imbeciles put in power who create chaos because they don’t understand what they are doing)—a whole menagerie of circus performers. It is not dignified government; it is confusion, chaos, and a path to destruction.

Does this resonate with you? Do you see why the world feels so bizarre? You are not imagining it.

“Ringmaster steps out”

The ringmaster is the one who truly controls the show, calling each act in and out. This line points to the rise of the final world ruler, the anti-Christ, finally stepping openly into view after working behind the scenes.

“The elephants left town”

The elephants leaving town represent the elimination of the Republican/Trump side of the conflict—not just losing an election, but being cleared off the field. This line points to the day when that camp is neutralized: their leaders sidelined or jailed, and many of their followers sent into internment and re-education camps, or eliminated entirely.

“People jump and jive / The clowns have stuck around”

The remaining population rejoices. The “threat” is gone, and people dance in the streets. But the clowns—corrupt politicians and their handlers—are still very much in charge. The circus act continues, just under one side’s colors instead of two.

“TV news and cameras, there’s choppers in the sky / Marines, police…”

This is not a quiet transfer of power. It is a major event, broadcast worldwide, involving military and police forces. It points to a civil conflict or crackdown where one side is crushed in the name of “restoring order” and conformance to “reason” dictated by so-called recognized or anointed authorities.

“Making moves and starting grooves before they knew we were gone”

Later he sings, “making moves and starting grooves before they knew we were gone.” But the way it’s delivered, it also sounds like “before the New World dawn”—as if the planners are already setting things in motion. By the time people wake up, many of those who resisted have already been removed or marginalized, and the New World Order is already in place. It matches the prophetic picture of the first horse of the apocalypse, which goes out “conquering, and to conquer” before the red horse of war that removes peace from the earth (Revelation 6:1–4).

“Jumped into the Chevy and headed for big lights”

Once the opposition—conservatives, constitutionalists, and Christians—has been cleared out of the U.S.-led world order, the anti-Christ simply keeps driving the same devil-powered vehicle toward the “big lights”: global power and open world leadership.

“Wanna know the rest? Hey, buy the rights”

The writers are telling us, “There is more to this story.” The rest is for those who truly want to know—who are willing to “pay the price,” one way or another. Scripture tells us the rest: a dark night, great deception, and then the coming of the Bright Morning Star.

“How bizarre, how bizarre”

The chorus is our response. We look around at politics, wars, social chaos, and say, “How bizarre.” What we are really seeing, though, is a carefully written script moving toward a planned outcome.

Illuminati Fingerprints in the Official Video

If all of this were just my imagination, the official video would be random. It is not.

The video is loaded with specific symbols that line up with the message I’ve just outlined.

One line keeps looping in the chorus: “Every time I look around… it’s in my face.” On the surface, it sounds vague, but to me it means that the symbolism that tells us what is coming is everywhere, built into ads, ceremonies, buildings, movies, and music videos. For those with eyes to see, it really is “in your face” all the time—part of the mockery is that most people look straight at it and still cannot see what they are being told.

“Keep Left” sign at 0:06

At 0:06 into the video, there is a “Keep Left” sign in the background. The anti-Christ will try to force you to the political left – the voice of conformance to reason moderated by the appointed authorities. If you don’t want to go to the internment camps with conservatives, constitutionalists and Christians, keep left. It also hints at where the anti-Christ figure comes from—he comes from the left, not the right.

Moloch at 1:53

At 1:53 into the video we get our first clear Illuminati mark: a brief shot of a mask shaped like an owl, representing Moloch, the ancient god associated with child sacrifice.

For generations, the global elites have used owl-Moloch imagery as a badge of who they serve—from the old street layout around key buildings in Washington, D.C., to modern rituals such as Bohemian Grove.

The pattern hasn’t changed; it continues right up to the present day.

The number 153 is 17 times 9 and the 17th triangular number and 9th hexagonal number: https://en.wikipedia.org/wiki/153_(number)

The number 17 is a number the Illuminati use frequently because it mirrors the beast of Revelation: “a beast… having seven heads and ten horns, and upon his horns ten crowns” (Revelation 13:1; see also Revelation 17:3, 7, 9–12).

The number 9 points to the nine “Babylon” phases of Satan’s rule over mankind—from the first Babylon at the tower of Babel (Genesis 11:1–9), through “Babylon the great” (the 7th, Revelation 17–18), then the 8th kingdom ruled by the beast “that was and is not… an eighth but… belongs to the seven” (Revelation 17:11), and finally the last rebellion of Gog and Magog after the thousand-year reign (Ezekiel 38–39; Revelation 20:7–8).

In that light, 153 functions a numeric signature: a way for Satan and the Illuminati to celebrate the full span of his kingdoms over the whole history of mankind.

The number 153 itself appears in John’s Gospel. After Jesus rose from the dead and met His disciples on the shore, they hauled in a miraculous catch:

“So Simon Peter went aboard and hauled the net ashore, full of large fish, 153 of them.” (John 21:11, ESV)

From God’s perspective, that catch hints at a great harvest of souls drawn out of all the “Babylon” systems of the beast—men and women rescued from every phase of Satan’s counterfeit kingdoms.

The Fire-Breathing Clown at 2:39

At 2:39 into the video, we see a performer blasting a huge jet of fire out over the water in a scene drenched in orange and gold.

The timestamp matters. 2:39 → 239.

Plutonium-239 is the primary fissile material used in modern nuclear weapons. So at the exact moment we see a clown breathing fire, the clock quietly spells out the nuclear number.

The number 239 is heavily used in Illuminati symbolism. In my article “Marks & Spencer Xmas Advert Exposed,” I walk through another example where “23 September” (23-9) is used as a visual marker, tying together nuclear fire imagery, a firm public nuclear threat by North Korea on a September 23 and the contemporaneous occurrence of the Revelation 12:1-2 great sign in the heavens. I am not setting dates. The point is that 239 is a heavily used numeric mark in their language—and it points to destruction through nuclear war.

In the How Bizarre video, the primary meaning is plain: the circus that brings the rise of the anti-Christ system, does so through the use of nuclear blasts. The clown breathing flame at 2:39 is a picture of nuclear blasts driven by plutonium-239.

“It’s in my face” – and then nothing but fire

The last words of the song are: “It’s in my face.” On that line, the video flashes a close-up of the masked performer, lit by orange firelight. Then, in the final seconds, the fire rushes toward his face and the image is completely washed out in white-hot flame. He is gone. All that remains on the screen is fire.

The message is not subtle. The masked man represents the warmongers and puppets of Satan—those who help bring nuclear destruction to the world. The same fire they unleash on others ultimately consumes them too. The show ends the way it has been hinting all along: in blinding, devouring fire.

A Pop Song That Predicts the End

Taken together, the lyrics and visuals tell one coherent story.

It describes the journey of the anti-Christ, coming from the political left, standing outside the law, orchestrating a global circus act of schemers, actors, and puppets to bring the U.S. to destruction. He removes the political right—conservatives, constitutionalists, and Christians—and then, through more war and nuclear fire, rises to become the leader of the world, until the same destruction turns back even on those who helped create it.

Scripture says of the end-times:
The sky vanished like a scroll that is being rolled up, and every mountain and island was removed from its place. ¹⁵Then the kings of the earth and the great ones and the generals and the rich and the powerful, and everyone, slave and free, hid themselves in the caves and among the rocks of the mountains, ¹⁶calling to the mountains and rocks, “Fall on us and hide us from the face of him who is seated on the throne, and from the wrath of the Lamb, ¹⁷for the great day of their wrath has come, and who can stand?” (Revelation 6:14-17)

Jesus also warned, “Put your sword back into its place. For all who take the sword will perish by the sword” (Matthew 26:52).

The video, in its own coded way, pictures the same truth: this road leads to fire, and those who live by that fire will not escape it.

In the end, the only safe place is not on the left or the right, but out of the circus altogether—out of Babylon and in honest relationship with the One who tells us the truth. If you sense Him knocking, do not wait; open the door, listen to His voice, and walk with Him now, while there is still time.

American Pie by Don McLean

Rome Burning and the Fall of America

Part 1 – Setting the Stage

“American Pie” has been argued about for more than fifty years. People have called it a riddle, a nostalgic scrapbook of the ’60s, or just a clever tribute to Buddy Holly. Don McLean himself stayed mostly quiet, letting the speculation swirl.

But in the last decade, the mask has slipped. In interviews, McLean has finally admitted that American Pie is not just a story about music—it is a story about a civilization in decline, Rome burning in American clothing. And when you put his own words together with the official music videos and a “deleted” verse, the picture becomes much clearer—and much darker.

I do not believe American Pie was just clever cultural commentary. I believe God showed Don McLean something real about the end of America, and that the “deleted verse” with its precise five-year marker is evidence of that. At some point, McLean sold the rights to the song and was required to compromise that verse and was not allowed to tell the meaning, but the warning remained—and the lyrics and videos still carry a message far deeper than entertainment.

In my understanding, the specific five-year timing is not something Satan would be able to see directly; it reinforces that this is a real warning, not just a human guess, even if the vessel later sold out.

Personal note: Years ago I emailed Don McLean’s agent with my analysis of how it points to the fall of the United States and the rise of an anti-Christ system. Shortly after that email, all uploads of this iconic song disappeared from the internet for roughly three months. I cannot prove those two events were directly connected, but the timing felt like a shock reaction—panic while someone checked with higher-ups about how to respond. My sense was that the pattern had been seen and taken seriously. I have often wondered if McLean himself may even have felt a kind of relief that at least one listener finally understood what had been given to him, and I still hope to reach out to him again someday. (Don, if by chance you read this, your remedy is in Numbers 30:3 — 3-3, the remedy for Freemasons. The spiritual gender of the Church is a woman, the daughter of the Father and the betrothed of the Son.)

What Don McLean Has Now Admitted

Back in 2015, when McLean auctioned the original lyrics, people expected a great unveiling. Instead, his explanation was vague: life is becoming “less idyllic,” American Pie is “a morality song,” and “things are heading in the wrong direction.” That was it—just enough to confirm that the song is about moral drift, but not enough to pin anything down.

Then came two interviews in 2019 where he said more.

In the first of those interviews, McLean explains that when he wrote American Pie he “came up with this notion that politics and music flow parallel together forward through history.” The music, he says, is tied to what is happening politically, and “the verses get more dire each time until you get to the end.” The “good old boys” are politicians, always present, “singing ‘bye bye Miss American Pie’ almost like they are fiddling while Rome is burning.” Then he underlines the point: “All roads lead to Rome.”

In some of his early performances, you can see how heartfelt this was for him—he sometimes wept while singing the song, and his delivery of the lines “the church bells all were broken” is always mournful, not triumphant (in contrast to Madonna’s version).

He may not say the sentence, “This is about the end of America,” but that is exactly what he describes. Rome burned. Rome fell. America is walking the same road.

In the second interview, McLean adds two critical pieces:

He says the song arrived in one piece as he sat with his guitar, “like a genie out of a bottle.”
He insists that he has always been extremely careful with his words—he wrote exactly what he wanted to say.

He also jokes that Bob Dylan would make a great “jester,” if Dylan were the jester—which, he implies, he is not. That implies the jester in the song is not a random artistic figure, but a real, specific man tied to politics in our time.

Put simply:

The theme is admitted: America following Rome into judgment.
The precision is admitted: every word chosen carefully.
The political focus is admitted: real politicians are in view, including a real “jester.”

That is the foundation this series will stand on.

The “Deleted” Verse – Hints of Judgment and Redemption

There is also a “deleted verse” that did not make the final cut of the song. Its key lines speak of McLean dropping to his knees, promising God everything he could give “if only He would make the music live,” and God promising it would live again—“but this time one would equal four,” and that “in five years four had come to mourn” and “the music was reborn.”

It reads like someone wrestling with God over much more than a music career.

My interpretation is this:

“One would equal four” – In the album version, McLean ends by naming “the three men I admire most – the Father, Son and Holy Ghost.” In the rebirth, one person will be joined to all Three, making four. Each redeemed person will be united with Father, Son, and Holy Spirit.

“Four had come to mourn” – After devastation, a handful (individuals each now joined to the Three) return to the land in mourning. For me, this resonates with the picture in Revelation 18: people who have obeyed Christ’s call to “come out of her, my people” may someday return to a broken homeland, not as citizens of a proud empire, but as mourners ready for a new beginning. I hope I will be among them.

I believe the five years is the time between the first judgment of the U.S., as Babylon the Great of Revelation 18, and the return of Jesus. I am not setting dates, but if this understanding is correct, it is a major prophecy of our time. Scripture says no one knows the day or hour (Matthew 24:36), yet also that God does nothing without revealing it to His servants the prophets (Amos 3:7), and Daniel and Revelation give specific counts of months and days. So I expect God to make the exact timing clear as we enter the final years, and this five-year marker could be one piece of that revelation given to Don McLean.

God’s Warnings

The lyrics and videos of American Pie carry a level of precision, numerology, and prophetic accuracy that goes far beyond nostalgia for the 1960s. I believe this message:

Announces the coming fall of the United States,
Signals the rise of a particular “jester” / anti-Christ figure,
Hints at a staged conflict between leaders (which I understand as the Trump vs. Obama struggle), and
Previews the kind of civil unrest and riots we are already beginning to see.

These are consistent with his stated theme (Rome burning), with the deleted verse (judgment and redemption), and with the imagery and timing markers embedded throughout both the Madonna video and his own, even though the true meaning has largely been withheld and dismissed for decades.

Outline of Four-Part Series

Because this is such a large work, I intend to cover it in four parts:

Part 1 – Setting the Stage (this article)
In this article I sketch the big-picture view and set the context for understanding the lyrics and the symbolism in the videos.

Part 2 – Madonna’s “American Pie”: The Simple Code
I begin with the Madonna video because its symbolism is simpler and more obvious, pointing directly to the destruction of the U.S. and the rise of the anti-Christ.

Part 3 – Don McLean’s “American Pie”: The Deep Decode
McLean’s video carries deeper symbolism and, as far as I know, is the earliest video to decode key Illuminati numbers, so Part 3 will focus on that numerical symbolism as a strong base for understanding later media.

Part 4 – What This Says About America’s Future
In this final part we will gather the threads—lyrics, videos, numbers, McLean’s words—to tell the story of the coming collapse of the U.S., the season of conflict, camps, and Satanic sacrifice of Christians, and to show why you might want to take seriously Jesus’ warning to “come out of her, my people” (Revelation 18:4).

Summary

This first part has simply laid the groundwork:

Don McLean has confirmed that American Pie is about the U.S. heading toward collapse, like Rome burning, and that its words are carefully chosen and tied to politics.
A deleted verse hints at redemption after judgment where “one would equal four.”

In Part 2, we will step into Madonna’s video and start learning the “alphabet” of this symbolism—numbers, colors, timing marks, and images that the Illuminati use over and over.

The Marriage Supper of the Lamb – Part 2

Drinking the Cup: Receiving the Holy Spirit

In Part 1, we looked at the marriage supper as a present reality: Jesus Christ feeding us with His own flesh, the pure Word of God, and calling us to gather that heavenly manna every day. In John 6 He says, “Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink his blood, you have no life in you.” In Part 1 we focused mainly on His flesh; in this Part we will focus mainly on His blood.

If eating His flesh is taking in the Word, then drinking His blood is receiving the Holy Spirit so that the Word becomes alive inside us. Without the Spirit, even the most accurate Bible reading remains dry and lifeless. With the Holy Spirit, the same words become living bread and living wine.

This is not a side topic. Learning to receive and walk with the Holy Spirit is central to loving God with all our heart, soul, mind and strength. At the marriage supper of the Lamb, we do not read as scholars trying to craft a sermon, but as a Bride sitting with her Bridegroom—opening the Bible and our heart together, prayerfully listening, responding, and seeking to understand His heart behind the words. Listening to our Father—really listening, in this two-way conversation of Word and prayer—is an act of love and respect.

In this article we will look at how Scripture itself ties together three things:

The Word of God (the flesh of Jesus)
The Holy Spirit (the blood / wine / oil)
Our heart (the vessel, the tent, the wineskin)

“The Letter Kills, but the Spirit Gives Life”

The Bible is very clear that there is a way to handle Scripture that brings death, and a way that brings life.

For the letter kills, but the Spirit gives life.
– 2 Corinthians 3:6

For the life of every creature is its blood.
– Leviticus 17:14

The Word of God, taken only as “letter,” can kill—not because there is anything wrong with the Word, but because our heart and our approach are wrong. The same Word, taken with a washed heart and a right spirit, becomes life when joined with the Spirit of God. Scripture links “life” with the blood; the life is in the blood. Spirit and life go together.

Create in me a clean heart, O God,
and renew a right spirit within me.
– Psalm 51:10

David is not claiming that he already has a clean heart. He is crying out for something only God can create. In this age, our part is to come before God with a washed heart—being honest about our struggles and sins, asking (or at least allowing) Him to change us, and then letting Him fill it with His Word and His Spirit—while we wait for the day He gives us a truly new, perfectly clean heart at the consummation—the marriage that comes after the supper.

So when Jesus speaks about drinking His blood, He is not inviting us into some mystical ritual for its own sake. He is calling us to receive the Holy Spirit, who makes the written Word alive in us. The Word of God does not come alive in us if we try to understand it based only on our own intellect. We must have the Holy Spirit. This is what Jesus meant by drinking His blood.

The Wedding at Cana – Empty Jars to Living Wine

John tells us that Jesus began His public signs at a wedding:

On the third day there was a wedding at Cana in Galilee, and the mother of Jesus was there. 2 Jesus also was invited to the wedding with his disciples. 3 When the wine ran out, the mother of Jesus said to him, “They have no wine.” 4 And Jesus said to her, “Woman, what does this have to do with me? My hour has not yet come.” 5 His mother said to the servants, “Do whatever he tells you.”
6 Now there were six stone water jars there for the Jewish rites of purification, each holding twenty or thirty gallons. 7 Jesus said to the servants, “Fill the jars with water.” And they filled them up to the brim. 8 And he said to them, “Now draw some out and take it to the master of the feast.” So they took it. 9 When the master of the feast tasted the water now become wine, and did not know where it came from (though the servants who had drawn the water knew), the master of the feast called the bridegroom 10 and said to him, “Everyone serves the good wine first, and when people have drunk freely, then the poor wine. But you have kept the good wine until now.” 11 This, the first of his signs, Jesus did at Cana in Galilee, and manifested his glory. And his disciples believed in him.
– John 2:1–11

There is a simple, prophetic picture here:

The six stone jars represent the human heart. Six is the number of man. Hollow, stone vessels, designed to be filled.
Jesus tells the servants to fill the vessels with water. This is our part. The servants had to act and the water represents washing. Now the vessels with water—human, washed hearts—are ready for His change.
Then Jesus turns the water into wine. That is His work alone. This pictures the heart filled with the Holy Spirit.

Luke 5:36–38 uses similar imagery when Jesus compares our hearts to wineskins that must hold new wine. The pattern is consistent: we bring a soft, yielded, washed heart; He fills and begins to transform us by His Spirit.

The marriage supper of the Lamb is this very work: His Word, made alive by the Holy Spirit inside hearts that we wash and open to Him. In this way, the marriage supper is the true food that prepares us for the actual marriage consummation, when we will receive a truly new and perfect heart — His perfect nature — which is the necessary foundation for living forever in the paradise of God.

The Tent of Meeting – Stepping into God’s Heart

In Exodus, God gives detailed instructions for the tent of meeting. These details are not just ancient ritual; they reveal how God invites us into fellowship with Himself.

The tent has two chambers: an outer sanctuary, which is holy, and an inner sanctuary, which is the Holy of Holies. Its walls are scarlet, blue, and purple like the walls of a heart, and its covering is of tanned (dyed red) goat skins (Exodus 26), which are soft. Its design represents a heart, the heart of God.

To enter, one must be washed and then sprinkled with the blood of the sacrifice (Exodus 29). Inside the outer sanctuary is:

The table of the Presence (manna from heaven, bread of the Presence)
The lampstand with seven lamps (light of the Spirit)

Paul helps us see what this means for us:

For a tent was prepared, the first section, in which were the lampstand and the table and the bread of the Presence. It is called the Holy Place. 3 Behind the second curtain was a second section called the Most Holy Place…
8 By this the Holy Spirit indicates that the way into the [Most Holy Place] is not yet opened as long as the first section is still standing 9 (which is symbolic for the present age).
– Hebrews 9

The outer sanctuary, with table and lampstand, is symbolic for the present age. It is where God meets His people now.

The bread of the Presence pictures Jesus, the manna from heaven, the Word of God.
The lampstand with seven lamps pictures the Holy Spirit (compare Revelation 1:12–16).

Thus, after washing, putting on clean clothes, and being sprinkled by the blood of Jesus—remembering what He did for us and that we are His bondservants—we are also to enter into this Holy Place to meet with God. There He meets with us and reveals His heart through the Word of God, illuminated by the Holy Spirit.

In so doing, the Word of God (the flesh of Jesus) is illuminated and comes alive in us by the golden light of the Lampstand (the Holy Spirit, the “blood” of Jesus). Here, in this very real daily “tent of meeting,” formed as a picture of God’s heart, is where the marriage supper happens in very practical terms.

Grain and Oil – Faithfulness, Oil, and the Ten Virgins

All through the Old Testament, God pairs grain (bread) with oil. In a stalk of wheat or barley, the head of grain forms at the very top, holding its seed high above the earth—a simple picture of bread that “comes down” from above, like the manna from heaven, while the oil poured over it points to the Holy Spirit who makes that Word alive.

Grain offerings are always accompanied by oil (for example, in Leviticus 2; 6, Numbers 7 and Malachi 1–2). Word and Spirit are not meant to be separated.

There is a sobering counter-picture in the test of the unfaithful woman by the jealous Husband (Numbers 5:11–31). In that test, the grain offering has no oil. Both the unfaithful and the faithful woman experience pain in the testing; the unfaithful woman withers, but the faithful woman bears her husband many children. This is a cast and shadow of how Jesus, the jealous Husband, tests His Bride. If we are unfaithful and do not have the Holy Spirit in us, the Word of God brings death. But if we do have the Holy Spirit, that same Word brings new life—spiritual offspring—consistent with the commission of the Bride of Christ, the Church (Matthew 28:18–20), to bring Him children by sowing the Word made alive through understanding given by the Holy Spirit.

The same pattern appears in the parable of the ten virgins (Matthew 25:1–13). All ten have lamps. All ten are waiting. The difference is oil. The virgins who were not ready thought the Bridegroom would come for them early in the night, but He came for them late in the night, and they ran out of oil. They did not have the Holy Spirit. Jesus says of them: “Truly, I say to you, I do not know you.”

Most English translations of this parable indicate those that were ready went with Him to the “marriage supper.” However, the original text in Matthew 25:10 uses only γάμος (“wedding” / “marriage”), not δεῖπνον (“supper”), highlighting the difference between the marriage and the marriage feast.

By contrast, Revelation 19:7–9 speaks of both:
“the marriage of the Lamb has come” (ὁ γάμος τοῦ ἀρνίου) and those who are invited “to the marriage supper of the Lamb” (εἰς τὸ δεῖπνον τοῦ γάμου τοῦ ἀρνίου).
This makes a real distinction between the marriage supper and the marriage itself. The supper is preparation time in this age; the marriage is union in the next age.

Personal note: After I had come to believe that the marriage supper is here and now on earth, I read Matthew 25 (ESV) one night before going to sleep and felt deeply disturbed, because it did not fit what I had thought I understood. I tossed and turned for hours until I finally got up, opened an interlinear, and saw that the text said simply “wedding,” not “wedding supper.” It was a relief because it confirmed the pattern I felt the Holy Spirit had impressed upon me—but it continues to bother me because this single added word in translation can bend our understanding and sow confusion on such an important topic.

Jesus later calls Himself “the bright morning star” (Revelation 22:16). Morning comes after night. Isaiah 21:12 says that “morning comes, but also the night.” The foolish virgins expected an early rescue—before the night really gets started. The wise were prepared and endured through the night with oil in their lamps.

So what does faithfulness look like now? It is not enough to say, “I believe.” Faithfulness means:

We keep coming to the marriage supper—the daily Word.
We keep coming with a washed heart so God can fill us with the oil—the Holy Spirit—to make that Word alive in us.
We allow the Spirit to comfort, correct, change, and lead us into right relation and obedience to His purpose.

The Betrothed—the virgin who bears offspring before the consummation (Isaiah 66:7–9)—has made herself ready with righteous deeds here on earth. As Revelation says, “Blessed are those who wash their robes, so that they may have the right to the tree of life” (22:14), and “for the fine linen is the righteous deeds of the saints” (19:8). Those deeds flow from a Word-filled, Spirit-filled heart that brings forth spiritual children for the Bridegroom.

Faith Like a Mustard Seed – Letting the Spirit Teach

Jesus gives a strange picture in Luke 17:6:

And the Lord said, “If you had faith like a grain of mustard seed, you could say to this mulberry tree, ‘Be uprooted and planted in the sea,’ and it would obey you.”

When you read about the faith of the mustard seed, how do you react? Do you think, “I just don’t understand”, and move on? Do you assume that “faith of a mustard seed” is something nobody really has? Or do you stop, ponder, and ask your Heavenly Father for understanding? Are you really “eating” the Word of God and do you believe that the Holy Spirit can teach you?

This is where the Holy Spirit makes the difference between “letter that kills” and “Spirit that gives life.”

For most of our lives, we can read verses like this for years and quietly tolerate a gap between what Jesus says and what we experience. We may treat His words as exaggerations or riddles we are not meant to understand. But His words are true. The gap is not in Him; it is in us.

The point here is not to become obsessed with throwing trees into seas. The point is: will we bring the hard verses to God and ask Him to teach us? Will we hold His words in our heart and wait on the Spirit until He gives understanding?

That is part of drinking the cup. That is what it means to treat the words of Jesus as living, not as religious phrases we skim over.

I encourage you to seek the Lord yourself on this verse in prayer and in the Scriptures; and if you stay with me, in a later article on the Gog and Magog prophecies in Ezekiel and Revelation I will share my understanding of this “mulberry tree” being uprooted and thrown into the sea that I believe He has given me. Food for thought: What kind of fruit is the fruit of a mulberry tree? What “sea” is Jesus referring to? Why would God want a mulberry tree thrown into the sea? I once bought a bottle of mulberry wine and spent several days praying and asking God questions like these before the meaning became clear to me.

The Heart Response – How to Actually “Drink His Blood”

In practical terms, what does it mean to “drink His blood” in the context of the marriage supper?

It is not a mystical feeling we chase, and it is not a special experience reserved for a few. It is “a daily posture of heart” so He can change it over time. It starts with faith and with love for God, which produces a true desire to be pleasing to Him.

Washing Our Heart

We come to God honestly, acknowledging our sins and struggles instead of hiding them, and asking Him—or at least allowing Him—to change us. Sometimes it’s hard to ask for something we don’t yet want, but simply allowing Him to work is already a step in the right direction. We are not promising that we will never fail again; we are bringing Him the heart we actually have. That desire for a clean heart is already the beginning of His work in us.

Prayerfully Reading God’s Word

Just like every child wants to spend time with his father and listen to what he has to say, we read God’s Word expectantly. I picture myself sitting at the table of the Presence, with the golden light falling on the words of the text and God just behind the veil of the temple, wanting to speak to me through it. My heavenly Father is there all the time, waiting.

If a president or world leader made an appointment to meet you, you would go, and you would be on time. You would not expect him to wait endlessly. Yet we often take for granted that our heavenly Father—far greater than any earthly ruler—is always near, waiting to meet with us, and we treat almost everything else as more urgent than sitting and listening to Him. Drinking His blood begins with honoring His invitation to meet with Him in His Word.

Pondering, Not Rushing

I think the first few times we read the Bible, it is fine to move quickly. It is important to see the whole landscape so we can understand each part in context. I am reading the Bible for the ninth time now. I do not worry whether I read one chapter or five. I read until my heart is full of thoughts and questions, and then I stop.

There is a word, ruminate, taken from how a cow chews and re-chews its food over time so it can be fully digested. Digesting God’s Word is no different. If our mind and heart are scattered, we may need to stop, pray for a quiet heart, and read less—but read deeply. The goal is not to race; it is to let the Word sink in until it becomes part of us.

Often we do not get the understanding we are looking for right away. Some things take years. For example, I pondered the wheels of Ezekiel in my heart for a very long time before I came to an understanding. But God cares about the process—the interaction, the questions, the fact that we want to hear Him and understand His heart.

So when we meet a hard saying, we do not shrug and move on. We hold it in our heart. We ask questions. We wrestle. We wait. We believe the Holy Spirit can actually answer and slowly realign our thinking with His. That honest effort is all we can give—and it matters to Him.

Walking Out What We Hear

As understanding grows, our faith grows. As the Holy Spirit becomes stronger in us, our conviction deepens, and we begin to take the next steps He shows us. Sometimes we stumble. Sometimes we suddenly see how far off we have been and feel as if we are moving backward. But we keep coming back to the table.

Over time, as our love for and understanding of the Word and the Spirit grow together, they begin to produce real change and real fruit—“righteous deeds,” the fine linen of the Bride. It is a gradual work, but it is real.

This is the essence of the marriage supper of the Lamb in this age. The table is set now. The food is the pure Word of God. The cup is the Holy Spirit. And our hearts are the vessels we keep bringing to Him—vessels He keeps filling and slowly transforming.

Conclusion – Staying at the Table Until Morning

We are not called to treat the marriage supper as a one-time event, or as something distant in heaven. We are at the table now. Jesus stands at the door and knocks. If we hear His voice and open the door, He will come in and eat with us, and we with Him. (Revelation 3:20)

To love God with all our heart, soul, mind, and strength starts with listening to Him—feeding on His Word and receiving His Spirit day after day. It is to stay at the table when the night grows long, with oil in our lamps, trusting that the Morning Star will rise.

Come to the marriage supper of the Lamb. Eat the unleavened manna from heaven by reading the Word of God with a washed, honest heart. Ask for understanding from the Holy Spirit to make it alive in you. Let Him turn the “water” of washing into the “wine” of His life within you.

The veil into the Holy of Holies is for the next age, when the marriage itself is revealed. For now, we are in the outer sanctuary, in this present age, being washed with the water of the Word and filled with the Spirit (Ephesians 5:26; 5:18). If we will remain at the table—Word and Spirit together—He will make us ready: ready to endure the coming night, to bear Him offspring in this age, and to stand—washed and faithful—when the consummation itself comes.