When I learned that Madonna – aka the Grand Priestess of the music industry – would be performing at the Superbowl halftime show, I thought: “This should be interesting”. And it was. While most were amazed by a woman in her fifties dancing around with LMFAO and others were annoyed at her lipsynching, I was amazed by something else: the flurry of symbolism flashed to billions of worldwide viewers. While most saw Madonna’s performance as an entertaining interlude to the most important football game of the year, those with symbol-literacy will probably agree: Madonna’s halftime show was a big celebration of the Illuminati industry and of its Grand Priestess, Madonna.
A week before the Superbowl, Madonna described on Anderson Cooper the spiritual importance she attributed to her Half-Time show:
“The Superbowl is kind of like the Holy of Holies in America. I’ll come at halfway of the “church experience” and I’m gonna have to deliver a sermon. It’ll have to be very impactful.”
It is rather appropriate that this Kaballah-intiate referred to the Superbowl as the “Holy of Holies” as it was the name of the most sacred place in Solomon’s Temple. No one was ever permitted the Holy of Holies but the High Priest and only on the Day of Atonement – to offer the blood of sacrifice and incense before the mercy seat. Madonna’s analogy was therefore rather telling of the mindset behind her performance. Let’s look at the main parts of her show.
Vogue or Entrance of the Priestess
Pushed by hundreds of Roman soldiers and welcomed by hundreds of women, Madonna’s glorious entrance is a reflection of her status in the entertainment world.
The decor of Madonna’s first performance combines elements from ancient Egypt, Sumeria and Babylon. Madonna herself is dressed in a way that highly resembles an Ancient Sumerian/Babylonian goddess, Inanna-Ishtar.
Ishtar with her foot on a roaring lion and wearing a distinctive headdress thatresembles the one worn by Madonna. Ishtar is often depicted with wings, a feature that is recalled on Madonna’s “carriage”.
Ishtar was a powerful and assertive goddess whose areas of control and influence included warfare, love, sexuality, prosperity, fertility and prostitution. She sought the same existence as men, enjoying the glory of battle and seeking sexual experiences. Madonna’s as Ishtar is therefore quite interesting as one can argue that the pop singer has embodied, throughout her career, the same assertive yet highly sexual qualities of Ishtar, even achieving a state of power in the music industry that is usually reserved to men. On an esoteric level, Ishtar is associated with the planet Venus, known as the Morning Star or the Evening Star – a name also attributed to Lucifer in occult schools.
So in this mythologically-charged setting Madonna performed Vogue. During the performance, we saw dancers on the covers of Vogue, a magazine that is at the forefront of Illuminati symbolism in fashion (as seen in the series of articles Symbolic Pics of the Month).
Vogue ends with a symbol that is consistent with the Egyptian-Babylonian theme of the performance. It is also highest importance in occult Secret Societies such as Freemasons, the Rosicrucians and the Illuminati: the Winged Sun-Disk.
Egyptian mystics used the winged sun for ritualistic magic and invocations:
“‘Emblematic of the element of air, this consists of a circle or solar-type disk enclosed by a pair of wings. In ritual magic it is suspended over the alter in an easterly direction and used when invoking the protection and co-operation of the sylphs.”
–Hope, Murry, Practical Egyptian Magic
The winged sun is still being used today by groups like the Freemasons, the Theosophists and the Rosicrucians.
“The Winged Globe is pre-eminently a Rosicrucian symbol, although the Illuminati may lay claim to it, and it may be admitted that it is of Egyptian origin. The Winged Globe is the symbol of the perfected soul making its flight back to the source of its creation in the Elysian fields beyond.”
-Swinburne, Clymer, The Rosicrucians Their Teachings
The display of this symbol, although apparently trivial and aesthetic, emphasizes on the occult spiritual dimension underlying Madonna’s entire performance.
Give Me All Your Luvin’ or Madonna’s Sex Kittens
Later in the show, Madonna performed her new single Give Me All Your Luvin’. The song features two new industry favorites: Nikki Minaj and M.I.A. In the song’s music video and during the Superbowl performance, the featuring of these two female rappers is portrayed in a specific way: Instead of being presented as full-fledged artists contributing to Madonna’s song, the roles they are given makes them almost Madonna’s “minions” who are cheering for the industry’s High Priestess. This “relationship” where Madonna is in power – and therefore the handler – is drenched in Mind Control symbolism, specifically Beta Programming also know Sex Kitten Programming.
Another symbol associated with Sex Kitten programming is feline prints clothing and textiles. The entire half-time show was an animal-print extravaganza.
Like a Prayer or the Final Sermon
Madonna closed the Halftime show with one of her biggest hits: Like a Prayer. The video of this song was always controversial due to its mixing of religious themes with sexuality. When the song starts, the show takes on a very solemn and spiritual tone as Madonna and Cee-Lo Green enter to give the final sermon. Religious figures are usually dressed in white to represent purity and godliness. The two singers where dressed in black robes and black robes are usually used in…black masses.
As the song begins, a huge eye pupil is displayed, hinting of the Illuminati-influence in this spiritual performance.
Madonna’s Half-Time show also ends in a rather symbolic matter:
At the end of her performance, the floor opens underneath Madonna’s feet and she disappears.
As Madonna is swept in what appears to be the “Underworld”, Madonna sings “I hear you call my name, And it feels like home”. This is another inversion of conventional religious symbolism as “home” should be in the heavens. In Madonna’s case, she obviously didn’t go in that direction.
The show ends with a message no one can disagree with.
The words “World Peace” appear on the stage, a PR-friendly slogan used by those pushing for a New World Order, one that is lead by a one world government.
When taken individually, the symbols described above can be simply considered as “cool-looking” and most Superbowl viewers did not attribute much attention to them. The packing all of these signs and symbols in one comprehensive 13 minute performance cannot be dismissed as “random images”. Quite to the contrary, they all point towards a specific underlying Agenda, one that is consistent across the entire music industry. Madonna’s embrace of the Illuminati symbolism discussed on this site coincides with her signing with Interscope Records, one of the main purveyors of Illuminati symbolism in the music industry. Her Half-Time show performance can therefore be considered as the “launching” of her three-album (and 40 million dollars) relationship with the prominent label. Madonna’s Superbowl performance has shown that, despite the fact that she is an industry icon, she still needs to fit the mold and embrace the same symbolism rookie pop stars.
Laced with profound imagery, Madonna’s Half-time performance was, in fact, a massive Illuminati ritual, one that was witnessed by billions of viewers. On this Superbowl “Day of Atonement”, Madonna, the High Priestess of the Illuminati industry, entered the Holy of Holies of America delivered a 13 minutes sermon that was heard by all and understood by few.