Madonna’s “American Pie”: The Simple Code

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

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

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

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

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

The Jester at 1:01 – 101 as a Gateway

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Football Team – 6 vs 7 in Plain Sight

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

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

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

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

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

The Bible describes him this way:

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

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

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

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

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

The Cheerleaders – From Patriotism to Mind-Controlled Subservience

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

Patriotic Rebels

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

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

Controlled Rebellion – Antifa Echoes and 2:01

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

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

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

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

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

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

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

New World Order Reset

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

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

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

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

The Final Stage – Dehumanization

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

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

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

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

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

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

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

The Cheerleader / Football Flow – Four Stages

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

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

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

The Sacred Store and the Gatekeeper

At 2:27 the lyrics say:

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

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

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

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

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

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

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

Americans have been “taken to the cleaners.”

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

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

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

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

So in this laundromat scene, the jester:

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

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

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

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

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

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

The Church Bells All Were Broken

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

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

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

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

The Final Flag – 101 and “66”

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

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

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

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

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

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

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

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

Why Madonna’s Version Matters

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

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

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

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