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.