Eurovision is an annual international song competition with participants representing primarily European countries. The show has been broadcasting every year since 1956 and is one of the most watched non-sporting events in the world, with an average audience of 300 million viewers.

Needless to say, Eurovision has been incredibly influential throughout the decades and has helped launch the careers of countless artists. That being said, is there a chance that the show’s reach could be used by the elite to push its messages and symbolism? You betcha. And this year’s edition was particularly obvious. Taking place in Israel, the show even culminated with an elaborate yet horrifying performance by the Grand Priestess of the music industry herself: Madonna.

Here are some “lowlights” of the finale.

Occult Elite Symbolism

The finale featured dozens of performances by dozens of artists from dozens of countries around the world. Despite this great variety of cultural backgrounds, there was a clear common thread: Submission to the occult elite. Indeed, Eurovision is clear proof that the global music industry has to be subjected to the elite’s debasing and hegemonic culture.

Here are some examples.

Throughout the Belarus performance, several images relating to Monarch programming were displayed in the background. Here, the singer’s head is split in half as a tiger runs inside of it – a representation of Beta Kitten Programming.

Here, her head is split again (but vertically) as various letters and symbols enter her head. More mind control symbolism.

A lightning bolt goes through her head, representing electroshock torture to cause a split in the personality of the MK slave.

Strangely enough, the same exact symbolism was used during the performance of Mahmood – the representative from Italy.

At various times during his performance, Mahmood’s head is “fractured” in several pieces.

The Eurovision finale also contains other elements of the elite’s agenda.

The Azerbaijan performance had deep transhumanist themes. In this screenshot, robotic arms perform some sort of laser surgery on the singer’s heart. His heart is then “uploaded” on a screen and controlled through computers.

The finale also had some classic Illuminati symbolism.

The performance of Israeli singer Netta Barzilai (the winner of last year’s Eurovision) featured clear Masonic symbolism. It began with a ball that took place on a Masonic checkerboard pattern floor.

Then, a horned, Baphomet-like head appeared in the background, above another dualistic checkerboard pattern.

Gender Blurring Agenda

First, I need to say that people have the right to act and dress the way they want. And, if they’re talented enough, they definitely have the right to sing and take part in competitions. However, there was a clear and obvious overrepresentation of gender-ambiguous people during Eurovision and I am convinced that lots of them were there BECAUSE they were trans or drag queens and not because of talent. As stated in countless articles in the past, there is an agenda to expose the masses (and especially young people) to gender confusion. And Eurovision did its part. Here are some people who performed during the finale.

Israeli transgender singer Dana International performed at the beginning of the finale.

France representative Bilal Hassani was basically dressed as a woman.

Drag queen Conchita Wurst (winner of Eurovision 2014) performed during the finale.

Drag queen Verka Serduchka also performed.

Then, Madonna came out. And it was horrific.

Madonna’s Performance

Madonna’s performance at Eurovision was controversial for several reasons. First, many were unhappy that Madonna went to Israel to perform considering the whole Palestinian issue. Second, her singing was horrible. It was torture. She was easily the worst performer of the night.

While these issues were widely discussed in mass media, the most obvious one was ignored: Her performance was a pseudo-satanic, New World Order, occult ritual. And, as usual, Madonna fully embodied her given role of Grand Priestess of the industry.

Before going into the performance, it is also important to note that Madonna is an adept of Kabbalah – Jewish mysticism that is at the root of most schools of Western occultism such as Freemasonry. Furthermore, the fact that this performance took place in Israel is also relevant to the symbolism that was put on display.

The performance began in a Cathedral-like setting with hooded men chanting the name “Madonna” as if it was a religious incantation.

After the chanting of her name, the Grand Priestess appears on top of the stairs, dressed as if she was about to partake in a dark occult ritual.

Then Madonna reveals herself. She wears a crown (Grand Priestess) and an eyepatch with the letter X on it.

Madonna recently created an alter-persona named Madame X she describes as an “agent with) several personalities. As seen in my article about Madame X, the entire thing is all about Monarch Programming.

Madame X constantly wears an eyepatch which is a convenient way of constantly displaying the one-eye sign – proof of submission to the occult elite.

Then Madonna begins singing Like a Prayer, a song about mixing sexual acts with religious devotion. Madonna sings this pseudo-satanic song all the time (she performed it at the 2018 MET Gala) because it is the perfect prelude to a black mass.

Other than the fact that Madonna sings horribly, she also sings with a thick accent that sounds Israeli or maybe Eastern European. Why? Well, the alter personas of MK slaves can be programmed to have accents. It seems like we’re listening to one of Madame X’s alters singing.

Then Madonna goes down the stairs slowly. Notice the inverted cross on her robe (symbol of satanism).

The setting here is extremely symbolic. The combination of stairs going up between pillars is fully Masonic.

Classic Masonic imagery depicting stairs going up between pillars.

At the beginning of the performance, Madonna was standing at the top of the stairs representing the highest level of “illumination”. By going down the stairs, Madonna symbolically lowers herself to the level of the masses. While doing so, she showcases an inverted cross because that is what they want the masses to believe in.

Here, hooded figures bring in pillars to place them on each side of Madonna. Why are they building stuff while Madonna is singing?

This scene is a clear reference to the rebuilding of Solomon’s Temple, a crucial part of Masonic teachings. The rebuilding is said to usher in a new era – a new world order.

The two pillars found in Masonic symbolism are references to the pillars of Solomon’s Temple named Boaz and Achin.

The High Priestess tarot card features the pillars Boaz and Jachin.

The site of Solomon’s Temple is in Israel and there have been constant rumors of the elite trying to take control of Temple Mound in order to rebuild Solomon’s Temple. In short, Madonna is basically referring to the dawning of a new era ruled by the elite.

Then, things get even weirder.

People wearing gas masks and robes go up to Madonna. She tells them something and then she kills them by breaking their necks. Do these people represent the masses being talked down and killed by the elite?

Then Madonna says a bizarre speech that appears to be threatening a group of people.

“They are so naive. They think we are not aware of their crimes. We know be we are just not ready to act. The storm isn’t in the air. It’s inside of us. I want to tell you about love and loneliness. But it’s getting late now. Can’t you hear outside of your Supreme hoodie the wind that’s beginning to howl?”

As Madonna says these words, we see various Christian figures. Their new age is defined by the destruction of Christianity.

Then, Madonna blows a wind of death on the masked people (which represent the masses) and everybody dies. Also, in the background, the Statue of Liberty is broken.

As Madonna performs her new song Future with Quavo, the world is literally on fire.

The lyrics of that song are about the elite telling the masses that the future is not for them.

Not everyone is coming to the future
Not everyone is learning from the past
Not everyone can come into the future
Not everyone that’s here is gonna last

Then Madonna, Quavo and other people go back up the stairs. Are they on the path of Illumination? Not really.

Despite all of the symbolism we just saw, 99% of news media focused on the fact that there was a Palestinian flag next to an Israeli flag and that people were offended. They completely missed the bigger picture: Everybody is on their way to die.

Once at the top of the stairs, people turn around and jump to their death in what looks like a suicide. Another nice message for the millions of young people watching.

At one point, we see the reflection of a church on the stairs. Another way of displaying an inverted cross.

Then the words WAKE UP appear in the background as Madonna and Quavo jump to their deaths.

Then, the crowd goes wild. Did they understand anything of what just happened? Probably not.

In Conclusion

Eurovision 2019 was a showcase of elite pawns and elite agenda. It was all about MK symbolism, occult symbolism, and the now unavoidable gender-blurring agenda. Appropriately enough, the show ended with an extremely symbolic and ritualic performance by Madonna which summed up the elite’s entire philosophy. It also conveyed its utter hatred and contempt for the masses, even celebrating their death in the “future”.

It is all there, it is all in our faces and it is more blatant than ever. If you don’t see it, take a hint from Madonna and WAKE UP.

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