The Superbowl, and it’s accompanying rituals, namely the halftime show, has become a consistent and unwavering part of American culture. With more than 140 million viewers1 for super bowl 54 (LIV – 45 reversed) last February (02/02/2020 – a palindrome mind you) it is one of the most opportune times to tune people’s subconscious via TV “programming” and communicate various large goals.
A warning, this post is going to be long as even though the show is fairly short in terms of entertainment length, it’s so packed with meaning and symbolism.
Start By Watching the Show
Phew… that was a lot. A non-stop, action-packed 14+ minutes of booty worshiping and “latin-flavor.” I don’t mind looking at Lopez or Shakira, but for my money, Katy Perry did a much better job last year. On to the details:
A Breakdown of Events – Shakira
A breakdown of each of the elements I noticed while watching and re-watching. This is pretty exhaustive, and includes slight commentary and analysis when appropriate:
- Red Fireworks
- Posts above the stadium – illuminated Green – look like obelisks stage is circular (magic circle, for rituals)
- Shakira Enters – hair dyed red, all red dress + red backup dancers (Shakira typically has blonde hair)
- Woman in red = Crowley’s scarlet woman (woman in red in The Matrix, Babalon, etc.)
First song: She Wolf
Keep in mind the following definition – ly·can·thro·py – the supernatural transformation of a person into a wolf, as recounted in folk tales – as you read these lyrics.
SOS, she’s in disguise
A Domesticated Girl, That’s all you ask of me
Darling it is no joke, this is lycanthropy
The moon’s awake now, with eyes wide open
my body’s craving so feed the hungry
While this song is playing the women stalk around the stage angrily with the choreography designed to make them look like hungry wolves.
Second Song: Empire – full lyrics
Like the empires of the world unite
We are alive
As she plays guitar, she’s flanked by one black man, one white (duality symbolism) who are also playing guitar.
Third song: Kashmir
At this point they start playing Led Zeppelin’s Kashmir (Jimmy Page was a devotee of Crowley, even buying his home).
- There’s another circle off stage, at the bottom, much smaller.
- During this sequence, the video screens (the stage is structured with) shows imagery of explosions – mirroring the lyrics of Kashmir (earth is destroyed/burnt by the exploding sun at the end of time)
Fourth song: I don’t know what it is – Shakira is speaking Spanish, playing with a rope (at first making it look like it’s binding her, then playing with it as a dancing tool).
Fifth Song: Whenever, wherever – Video – the lyrics are interesting, but more on that later.
Sixth song: I like it.
- This is the new, disgusting, Bad Bunny/Cardi B version
- Bad Bunny comes out – the dew rag makes it look like he’s wearing a yamaka, with matching silver dress.
- He’s our future Latin rabbi savior – we want moshiach!
- Bad Bunny states: “This is the new religion”
Seventh song: Chantaje – which translates to blackmail, racket, shakedown.
By this point I’ve noticed there were virtually no white people – most of the backup dancers were black with about 1/3 being lighter skinned Latins. Maybe one white girl.
Black guys play the trumpet.
Miami is kind of special in that way though. I used to spend a lot of time in Hialeah for example, and it’s weird for people in many places around there and Miami to speak English. I digress..
Eighth song: Hips Don’t Lie – Video – Notice that Wyclef repeatedly says “no fighting, no fighting.” There’s even a background track where he says nearly non-stop “don’t fight don’t fight” very quiet in the background. Interdasting…
- Shakira jumps off stage and is carried by the same black guys that were playing the trumpet in the previous song.
- Stage begins to flash with flowers wreathed along it’s edge. With a giant black/white spiral/flower in the middle.
- Once she’s put back on stage, she flicks her tongue repeatedly while looking dead in the eyes:
- Crazy someone with such movement can look so dead.
- Next tribal drums play, there’s the sound of a big cat roaring (from the song).
- Shakira ends the song with “no fighting,” as she does in the original song/video. The direct meaning, in the context of the song seems to be she’s resigned to the advances of the man interested in her, but I get the feeling there’s more here…
A Breakdown of Events: Jennifer Lopez
JLow comes in at precisely 6:16 – perhaps a nod to Revelation. This also ties us back to the multiple Crowley references to far (Kashmir, & Shakira and her harem being “Scarlet Women”)
616 (number) 616 (six hundred [and] sixteen) is the natural number following 615 and preceding 617. While 666 is called the “number of the beast” in most manuscripts of Revelation 13:18, a fragment of the earliest papyrus 115 gives the number as 616.616 (number) Wikipedia
And one more quote, tying Crowley to the number:
θηρίον (Therion) appears in the New Testament, means “wild animal” or simply “beast”. Crowley as a rambunctious rascal was called “the beast” in childhood from his mother (who he didn’t quite respect), so he didn’t find this offensive and even reveled in the title, as children are wont to rebel and as his father was a preacher the bible was an important book in the household. As an adult, he called himself To Mega Therion, the Great Beast and took up the number 666. This meaning changed from identifying in a rascal, to identifying in the fire-spirit, the guiding light, the divinity of the solar god.
- JLO’s logo combines the L&O to transform the L into the hands on the clock (the “O”). It looks like 15 minutes to midnight if I had to guess.
- Jlow is wearing silver throughout.
- The color silver and the metal Silver is associated with the lower key – the physical.
- The spire and her dress, and the lighting is purple/pink at first. then with the first beat drop, it transforms to blue. I think this symbolizes female to male.
- She comes in with a splash of purple on the stage, she’s atop a fake city skyline, wearing pink skirt – that she removes (destruction of innocence?), hanging on to a spire you’d see at the top of a skyscraper.
- Her outfit looks fucking ridiculous, it’s biggest intent – to accentuate her butt.
- What’s interesting is how sexual this display is: removes her skirt, scantily clad, at the mid-way point of the first song, she motions to, and sets her hand atop her crotch (see image). The camera is also directly aligned with the JLO Coochie The. Entire. Time. (Hey camera man, stay locked on that labia!)
- Her belt insignia/logo is important – believe it’s Versace.
Ninth song (First JLO): Jenny from the block – Video
- Her backup dancers (the females) are dressed in black leather and are wearing yellow, green, or purple colored skirts (this color pattern matches the colored flowers on stage towards the end of Shakira’s she wolf act).
- They also are all heavily made up to appear much darker than they are.
- They look like they’re wearing gay leathers.
- Also, the backup dancers (males) are supporting them – then they (the females) get thrown off, disappear for the rest of the next couple songs.
- The men are wearing a variation of the same outfit, but it’s much more feminine – they have skirts, with long white gloves, and their outfits are black and white (a common duality, masonry, mystery religion symbol)
- They also appear to be wearing chokers and necklaces with the Greek key.
Tenth song (Second JLO): Ja Rule and JLO’s – Ain’t It Funny
The song pops in with the line “It must be the ass…” with Jlo circling her big butt with glittery diaper looking thing.
Eleventh song (Third JLO): Get right
- In the music video for the song it starts with her taking her daughter to a gay club
- The male dancers are very femine/gay with very seductive movements usually reserved for female dancers.
- This bitch looks like she’s wearing a diaper (and I’m correctly using bitch, as Shakira previously alluded to all women becoming wolves)
- They, along with JLO are wielding cane’s – a clear phallic symbol.
- Lots of inversion (dancing, movements – done by males, wielding penises).
- The dancers (males) are wearing skirts.
- Under the stage the display flashes the “target” symbol, in and out – a sodomite/anus symbol.
Twelfth Song (Fourth JLO): Waiting for Tonight
- Stage is a light blue, everyone is wearing white (more Greek keys). They dance around, again they climb a mountain of sorts (of people) with jlo in the center on a spire (this time a stripper pole). She displays some of her stripping ability. Then the stage breaks down to reveal a waterfall, could have to do with us entering the age of Aquarius.
- Big Color Patterns: Red | Black | White | Green
Thirteenth song (Fifth JLO): Booty – The music video for that song is pretty crazy – it’s porn. Can I sue for having my eyes and ears violated? #metoo
Fourteenth song (Sixth JLO): Mi Gente
- Again on the 6th song, they bring out another Latin guy (who is terrible).
- His name in the background has the lightning bolt.
- J lo stands in the center of the stage, and the square platform raises. I’m seeing a theme of raising her up repeatedly to be higher than everyone else. Raising this oversexualized/masculine feminine?
Fifteenth song (Seventh JLO) – Love Don’t Cost a Thing
Sixteenth song (Eighth JLO): Floor
- Jlo’s male backup dancers are clad again in the Lilu looking futuristic clothing. It features greek keys and is glittery.
- Similar to Shakira, these dancers are almost exclusively black or latin.
- 13 – 16 songs are all mixed together so it’s hard to break them apart.
Seventeeth song (Ninth JLO): Let’s get loud:
- the kids: little girl, in hexagonal glowing cage.
- There are 18 of these glowing cages.
- From above, the stage lights up into a female symbol.
- The children are all little girls.
- All wearing white. Shakira makes a point of singing to the little girl that “ain’t no body gotta tell you what you gotta do, no no…”
Eighteenth song (10th JLO): Born in the USA
An interesting last song considering the cultural debate over migrants – the whole theme was Latin America, with most of the stage performances by Latins (and many Spanish songs)… in the USA!
What jumps out to me immediately is that an analysis is easily divided by the two separate performances from Shakira and Jennifer Lopez. Their acts, movements, symbols, colors, and choreographed spectacle comes together to continue the charge of globo-homo-ism continuing the incantations of many other performers and writers across all of entertainment.
Short summary – your body has urges that need to be fed (no mastery of your feelings/body), instead indulge it.
Shakira – whenever wherever https://www.youtube.com/watch?v=wZOqrx0ETGk – I’ve heard this song 1000 times, never paid attention to the lyrics, she’s venerating a spirit of some kind, very interesting.
https://genius.com/Cardi-b-bad-bunny-and-j-balvin-i-like-it-lyrics – basically pushing materialism and instilling in women, masculine energy
Edit: July 28th, 2020
Upon re-reviewing everything, including the performance, and reflecting upon the last year+…
I do believe this was a symbol to start revelation (it is my opinion we are currently in revelation – although not really, like yea – OK guys we get, we know you want us to think we are…)
Lopez’ daughter in her cage was a symbol for COVID’s 6-foot rules. Matches too closely. Obviously only meaningful to the unwashed in hindsight.
Shakira seems to represent the sun, eclipsed by the moon (Jlo) – the higher key (spiritual) eclipsed by the lower (moon).
“The empires of the world unite…” – interesting that less than a month later, they would move in virtual lockstep with their COVID response (with any dissenting world leaders being openly murdered).
The easy to spot further destruction of the female, replaced by the masculine, and the inversion of the sexes.
Blatant race connotations. Whites should be minimized or demoralized. – Since this has happened both the FBI and DHS have come out stating that whites represent the larger terrorist threat within the United States (the EU is saying the same thing).
DON’T FIGHT YOUR COVID OPPRESSION…