Vigilant Citizen – February 7, 2012
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 lip-syncing, I was interested with something else: the flurry of symbolism flashed to billions of viewers worldwide. While most considered Madonna’s performance as an entertaining interlude to the most important football game of the year, those blessed with symbol-literacy will probably agree with the following statement: 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 halftime 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 to enter the Holy of Holies but the High Priest. This privilege was only granted on the Day of Atonement, to offer the blood of sacrifice and incense before the mercy seat. Madonna’s analogy was therefore telling of the mindset behind her performance. Let’s look at the main parts of her show.
Vogue or Entrance of the Priestess
Madonna entrance is an elaborate procession fit for a High Priestess or even a goddess.
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.
Her first performance was highly influenced by ancient Egypt-Sumeria-Babylon and Madonna’s costume recalls an ancient Babylonian goddess.
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 portrayal 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, covers of Vogue Magazine were displayed, a publication 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, one that is also of highest importance in occult Secret Societies such as Freemasons, the Rosicrucians and the Illuminati: the Winged Sun-Disk.
The song ends with the displaying of a 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”