“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.

“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.

Stairway to Heaven

A Prophetic Warning to the West

Synopsis: This article reads “Stairway to Heaven” by Led Zeppelin as a prophetic message about the coming judgement on the West, especially the United States, and the rise of the final “piper” the Bible calls the man of lawlessness. The song’s strange images—rings of smoke, the May Queen, the piper, the bustle in the hedgerow—fit together as a warning to choose the narrow road now, to listen to the Holy Spirit rather than follow the music of Satan.

Music, Prophecy, and the Spirit Behind the Song

Many popular songs are not just entertainment. They are messages.

For this article, I focus on Led Zeppelin’s “Stairway to Heaven,” especially a live performance where Robert Plant inserts spontaneous comments that quietly underline the message: “Yes, indeed” after the line about misgiven thoughts, “Do you remember laughter? … Priceless” after the forests echo with laughter, and “Please don’t roll, people” after the warning to be a rock and not to roll. You can hear that version here: https://www.youtube.com/watch?v=Ly6ZhQVnVow. These lines don’t appear in the printed lyrics, but they show that Plant understands and affirms the tension and sadness carried inside this song.

The Bible tells us that there is a spiritual power behind much of what moves culture. Satan was adorned with beauty and music from the beginning:

“Thou hast been in Eden the garden of God… the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.” (Ezekiel 28:13, KJV)

In other words, musical instruments were “built into” him. It should not surprise us if he uses music as one of his main channels. Many in the music industry have openly admitted they “sold their souls” for fame and wealth. Satan speaks through those who have yielded themselves to him.

I believe Stairway to Heaven is one of those songs. It is one of many that quietly announce what is coming: the sword, fire, and judgement on the West, especially the United States, and the preparation for the final world ruler—the “piper.”

What follows is my reading of the song as a kind of parable. You can dismiss it as coincidence if you want. But if you really walk through the images, verse by verse, the pieces line up too well to ignore.

The Lady Who Is Sure All That Glitters Is Gold

“There’s a lady who’s sure all that glitters is gold
And she’s buying a stairway to Heaven”

The “lady” is the system that believes everything valuable is measured in gold, power, and control. I believe this is the United States as the end-time harlot power that rides the beast in Revelation 18—wealthy, proud, and confident that money can buy anything, even spiritual security.

“When she gets there she knows, if the stores are all closed
With a word she can get what she came for”

If the normal channels (the “stores”) will not cooperate, she still expects to get what she wants “with a word.” That is how the U.S. has acted for decades: if a foreign government does not submit to its agenda, there can be regime changes, covert operations, or open war. She assumes access, always.

“There’s a sign on the wall, but she wants to be sure
‘Cause you know sometimes words have two meanings”

The warnings are there. The “sign on the wall” is clear. But she prefers to doubt them. She hides behind ambiguity – “words have two meanings” – so she can do what she wants without facing what God is really saying.

“In a tree by the brook, there’s a songbird who sings
Sometimes all of our thoughts are misgiven”

Deep down, she knows something is off. “Thoughts misgiven” hints at conviction and uneasiness. In the live performance, Plant quietly adds, “Yes, indeed,” as if agreeing with that hidden conviction. The songbird by the brook suggests a quieter voice—conscience, or the Holy Spirit—singing something different from the loud, glittering promises of power.

Rings of Smoke and a Spirit Crying to Leave the West

“There’s a feeling I get when I look to the West
And my spirit is crying for leaving”

“West” points very clearly to the U.S. and the Western system. There is a spiritual urge to leave, to come out. This matches the repeated warnings in Scripture where God calls His people out of a doomed system so they are not destroyed with it.

“In my thoughts I have seen rings of smoke through the trees
And the voices of those who stand looking”

“Rings of smoke through the trees” is the image of nuclear detonations—the mushroom clouds rising over crowds (“trees” often symbolize people in biblical language). The “voices of those who stand looking” are not calm observers; they are the cries and screams of people watching destruction they never thought would happen.

The sword is coming to the U.S. The imagery is already in our songs.

The Piper and the New Day

“And it’s whispered that soon if we all call the tune
Then the piper will lead us to reason
And a new day will dawn for those who stand long
And the forests will echo with laughter”

The “piper” is the anti-Christ—a man Satan will empower to step into chaos with a false solution. The world will be told that if we all “call the tune” (agree with the program, repeat the slogans, accept the new system), he will lead us to “reason.”

This “reason” will come packaged in expert voices: scientists, policy makers, tech leaders, even AI. These figures will be presented as neutral and rational, but they will actually be selling a spiritual lie: salvation through a central, controlled, godless order.

The song promises that “a new day will dawn for those who stand long”. It will be easy to go along with the new system, and hard to stand against it, but those who endure to the end of this age will see the true dawn—the Bright Morning Star after the long night, and real joy and laughter on the other side of judgment. In the live version, right after “the forests will echo with laughter,” Plant turns to the crowd and asks, “Do you remember laughter? … Priceless,” as if touching a memory that has nearly been lost.

The true new day belongs to Jesus, the Bright Morning Star, not to the piper. The real “forests echoing with laughter” will come when the world is restored to relationship with God, not when it kneels to a global regime that claims to lead us to “reason.”

“Bustle in Your Hedgerow”: War and Blood Sprinkling

“If there’s a bustle in your hedgerow, don’t be alarmed now
It’s just a spring clean for the May Queen”

A “bustle” is commotion or conflict. A “hedgerow” is a boundary or border. In plain terms: if there is war at your borders, do not be alarmed—it is just a cleaning.

Here the phrase “spring clean” is important. When sung, it sounds very close to “sprinkling.” I believe that’s not an accident. In Scripture and in occult practice, sprinkling is connected to blood and sacrifice—either the true sprinkling of Christ’s blood or its satanic counterfeit.

The “May Queen” points to the Beltane/May Day cycle—fertility and fire rituals that historically include symbolic or literal blood sacrifice. In occult systems, these rituals are believed to open spiritual gateways.

Putting this together:

Bustle in your hedgerow → conflict and war.
Spring clean / sprinkling → ritual blood shedding.
For the May Queen → for the benefit of the ruling occult power.

In this reading, the wars and upheavals are not random. They are sacrifices—blood sprinkled on the ground “for the May Queen,” which, spiritually, is Satan. Through these crises, a gateway is prepared for Satan to fully empower the anti-Christ, to enter and rule through him.

This is not peace-keeping. It is ritual preparation.

Two Paths, One Lie About Time

“Yes, there are two paths you can go by, but in the long run
There’s still time to change the road you’re on”

Jesus spoke of two roads: one broad and crowded, leading to destruction, and one narrow and difficult, leading to life. The song acknowledges that “there are two paths,” but then introduces a deadly comfort: “there’s still time.”

That is exactly how Satan talks. He knows people feel conviction, so he says, “Later. You do not need to change your path right now. Keep pushing that conviction aside so you can enjoy the road you’re on now. There will be time later to settle things with God.”

That delay is one of his most effective traps.

The Head That Hums and the Piper’s Call

“Your head is humming, and it won’t go, in case you don’t know
The piper’s calling you to join him”

The noise of our age—news, crises, fear, endless distraction—makes our heads “hum.” This confusion is not neutral. It is designed. The piper is using chaos to call people into alignment with his system, to make his “solution” feel like the only way out.

“Dear lady, can you hear the wind blow? And did you know
Your stairway lies on the whispering wind?”

Here, the “wind” is a picture of the Holy Spirit. The true stairway does not lie in buying, controlling, manipulating, or building systems to reach Heaven. It is in listening to the whispering wind of God’s Spirit, who always points to Jesus and the cross, not to human power.

The Spirit is asking: Can you hear Me over the humming? Will you follow Me instead of the piper?

The Rock That Does Not Roll

“And as we wind on down the road
Our shadows taller than our soul”

As time goes on, the shadow of death grows longer over every person and every nation. We sense the reaper coming. Our physical lives, our nations, our empires are fading.

“There walks a lady we all know
Who shines white light and wants to show
How everything still turns to gold”

This is not the same lady from the opening. The first woman tries to buy Heaven with gold and power. Here we see something different: a “lady we all know” who shines with white light and wants to show “how everything still turns to gold.” I believe this points to the true Bride of Christ — a people refined through tribulation, whose hearts are turned into real gold in God’s fire, so that they become light in the darkness, not buyers in a corrupt system. I have seen the same pattern in a lot of Illuminati symbolism: Satan sees and marvels at the Bride’s beauty and purity, and he longs for a union with her to defile her — think of the story told in “You’re Beautiful” by James Blunt.

“And if you listen very hard
The tune will come to you at last
When all are one, and one is all”

Here the focus shifts back to the quiet voice behind the noise. The “tune” that comes if you listen very hard is not the piper’s propaganda, but the softer melody of the songbird and the wind — the Holy Spirit. If we will press through the humming and distraction, we begin to hear a different call.

In biblical terms, “all are one, and one is all” points toward the oneness Jesus prayed for in John 17: that we would be in Him, and He in us, and so be truly one with one another — the beginning of real peace on earth, rooted in loving God and loving our neighbor as ourselves. That is very different from a forced, global “oneness” that erases truth.

The piper will offer his own counterfeit unity, but buried inside this song is a better invitation: to listen past his music until we hear the Spirit’s tune, and to choose oneness with Christ first — and then, through Him, real unity with others.

“To be a rock and not to roll”

This line is critical.

To “be a rock and not to roll” is to stand firm, to refuse to be moved by the pressure to conform, even when the whole world is swept into the piper’s tune. In the live performance, Plant adds, “Please don’t roll, people,” turning the line into a direct plea to his listeners. Jesus is the true Rock. Those who stand on Him will not be rolled by fear, propaganda, or persecution.

So… Am I Imagining This?

You might say, “You are reading way too much into a rock song.” If so, consider these questions:

If this song is only about greed and vague spirituality, who is the May Queen and why does she need a “spring clean” (sprinkling) in the middle of a “bustle in your hedgerow” (conflict at the border)?
What do rings of smoke rising through the trees and the voices of those watching have to do with a woman who believes all that glitters is gold?
Why does the singer’s spirit cry to leave the West? Why specifically the West?
What does war at the hedge have to do with a woman trying to buy Heaven?
Who exactly is the piper who wants to lead us to “reason”?
Why does the song end with the stark warning “to be a rock and not to roll”?

The pieces fit together too well to be random. The future is known. The message is clear:

“… the whole world lies in the power of the evil one.” (1 John 5:19)

Satan’s fingerprints are on our culture, our systems, and yes, our music. But that is not the end of the story.

A new day will dawn. The Rock that does not roll will return. The forests will echo with laughter again—those who listened to the whispering wind, left the wide road, and stood long on Christ.

Now is the time to choose which tune you will follow, and which stairway you will trust.