During the ceremony of the Grammy Awards held a few days ago, Sam Smith and Kim Petras performed live with their song Unholy. Their performance was criticized by a large part of public opinion for the “infernal” choreography, references to occult symbology and representation of dark rituals. Well, with a song like that, I don’t think we could have expected to attend a ballet of colored fairies, but perhaps not even to see the contortions of a woman locked in a cage or a guy surrounded by demon-possessed individuals. I think the whole performance was truly awful, but still – come on – maybe during the Grammys a little “exuberance” can be accepted?! Even if it’s an international event, which is supposed to celebrate music, and which is also followed by children? Ok: let’s say it was artistic expression. Then, surely, after the dark performance there will be some good performances aimed at bringing back some “light”, something that perhaps will use music to convey a message of love and beauty. And – of course – I was wrong! Because then Dj Khaled took the stage with his song god did, who, with other colleagues including Jay-Z, mocked the Last Supper and singed blasphemous verses.
Not to mention the elegance of the outfits: more than an award ceremony, it looked like a Satanic defilé given the several references to the occult and demons on the “red carpet”. After all, the world of fashion is certainly no stranger to esotericism: from Dior to Balenciaga, from Hermès to Schiapparelli. The latter recently presented in Paris the collection inspired by Dante’s Inferno, which was attended by the singer Doja Cat with an allusively infernal and – for me – quite disturbing dress. What’s more, the Maison is the one that the Italian influencer Chiara Ferragni chose for some of her clothes and accessories worn at the Sanremo Music Festival, including the necklace in the shape of a goa… oops, I mean of a “uteron” worn to support the right to abort.
Anyway, back to the Grammys: for years the performances have been characterized by references to the occult, profanity and sexual gestures but the level of perversion has now reached the point of triggering, especially in the minds of lovers of esotericism, the doubt that those performances are real rituals aimed at worshiping evil and mocking Christianity. You don’t have to be a conspiracy theorist to notice that during this and other ceremonies broadcast on national television the same patterns are often repeated: red dresses, occult symbology scattered here and there on stage, desecration of Christian iconography, obscenity, promiscuity, orgiastic choreography, depiction of snakes, adoration of animals… At the 2015 Grammys Madonna gave a mephistophelean performance to an enthusiastic audience and at Eurovision 2019 she practically celebrated a black mass. Which should come as no surprise since the “queen of pop” has made profanity the backbone of her success: her performances, her concerts, her lyrics, everything in Madonna has a sinister interpretation. Check out her song Holy water or Like a prayer, which we used to sing when we were teenager. Take a look at the videos of her concerts, her live shows, her dress style or the unpleasant photo shoot she did for Vanity Fair and maybe it will be clearer what I’m trying to say.
Actually I could go on and on with the list of artists who, at a certain point in their careers, have taken a – let’s say – “obscure” drift. Beyonce, for example, who litters her lyrics with ear-plugging vulgarity and blasphemy. And then again, Katy Perry, Billie Eillish, Adele, The Weeknd, Taylor Swift, Ariana Grande, Lady Gaga. Speaking of Lady Gaga: the song that everyone dances with a smile on their lips on Tik Tok with that idiotic choreography (I’ll dance dance dance. With my hands hands hands. Above my head head head) deliberately mocks the evangelical message. Not to mention the song Judas, where she explicitly glorifies Judas and Bad romance which is also ambiguous, with indisputable references in the video to alchemy and black magic.
However, what amazes me the most is the inevitable “I wanna thank god“, pronounced by almost everyone after having collected the coveted prize on stage. Wouldn’t it be more correct of them to clarify which “god” they are thanking? Recently Kayne West, to demonstrate his dissociation from these perverse dynamics, has recorded an album where he specifically praises Jesus and the Gospel and where there is no ugly or blasphemous expressions.
After all, that’s how it works: either God or mammon…
And finally, from this murky slime, we can see emerging the repugnant immeasurable ego of the star, eager to be idolized. In the colorful and reprehensible pantheon of earthly divinities, we find those who have themselves portrayed in the guise of the Virgin Mary, those who proclaim themselves god/goddess, those who in choreography and videos are adored by evil characters exhibiting evil and taking pleasure in their wickedness. If you pay attention, the theme of the veneration of the artists and their rising above mere mortals is a constant, like Rihanna did at the Super Bowl a few days ago, where she “blessed” the whole audience with the inevitable gesture of the triangle. Clearly, in this sort of artistic neo-paganism, the worship of the objects is added to the cult of the person, with the ostentation of clothes, watches, cars and villas worth millions of euros.
In short, many of the “kings” and “queens” of the American music industry are obsessed with evil and want to be idolized as gods.
This is not freedom of expression, but perversion. Beyond the squalor, “something is rotten in the state of Denmark” or should we say in Hollywood. Hollywood mocks God, mocks the sacred, is imposing obscene and vulgar language on the world, is making music a sewer of profanity, filthy expressions, occult symbology and veneration of evil. In short, Hollywood is making us get used to indecency.
At this point, the real question is: why? Why are Hollywood artists obsessed with the underworld? Why do they feel the need to mock the sacred things?
The link between the American music industry and esotericism is well known, or at least it is so for those who, like me, are interested in this topic. The most famous and unthinkable singers have always hidden occult esoteric symbology in their albums and lyrics. And they certainly didn’t do it naively, but they did it because those who are behind the scenes of this world, who hold the reins, know perfectly well that subliminal messages work. And so they use the boundless influence of these characters (or should I say demigods) in order to get the message that they want to get across to as many people as possible.
The subliminal message is in fact any information that is perceived at an unconscious level as it bypasses the conscious mind and “speaks” to the subconscious mind. It can be sounds, writing or images. It is of course a sneaky language because it eludes the filter of our awareness. And the message they want to feed (read indoctrinate) our consciences is that somehow the worship of evil leads to success. Or perhaps, more precisely: that we must distance ourselves from Jesus Christ.
Thus that message settles in the mind, thoughts and desires. Get somehow familiar. So the black mass is no longer an abominable rite, but an innocent spectacle during which the invocation of the intervention of evil forces is pure entertainment. So, subtly, the darkness came out of the darkness and perversion became a model of behavior, with an implicit invitation to emulation on the part of the fans who praise the artist and wish to conform their own to his/her lyfe style.
Unfortunately, the “Hollyweird” phenomenon has crossed the ocean and arrived in Italy too. And I’m not only referring to the rockstar who makes the classical gesture of the horns with the hands or who has the snake tattooed somewhere (really, wow! So you’re really a bad guy!), but to the vulgarity of the lyrics, the ridicule of the sacred, to the obscenity imposed on the public, to the way of dressing.
Even the Sanremo Music Festival in Italy has been turning into a “miniature Grammy” for some years now. Nothwistanding no rituals are staged, the parameter of decorum has been eliminated. Everything is allowed to impose their message and they do not care if on the other side of the cameras there are elderly people or children, who perhaps don’t want to see performer’s almost naked body or be “stared” by the nipples of the host. Performers, guests and hosts can show the lowest part of human instinct because there is an unappealable phrase that immediately stops any argument to the contrary: the defense of rights.
By now – and not only in Sanremo – women are stripping off more and more because they have to defend the right of women to dispose of their bodies. So – let me understand – would the nipples be bearers of this profound message? Have them give a conference next time or maybe take them to the European Court of Human Rights… I am convinced that women should be able to dispose of their own bodies and I am absolutely in favor of the right to abortion, but I am equally convinced that there is no need to show off your naked body and go beyond good taste.
I am also in favor of the recognition of civil rights in favor of homosexual people, yet I think that there is no point in flaunting one’s orientation by simulating sexual intercourse on national television, because it is precisely those attitudes that “dirty” and make appear obscene what it is not.
I am in favor of all these things and yet I believe in God. And I believe that, among all those words praising respect worldwide, there is a complete lack of respect for those who believe. Because now everything can be done on every stage, even mocking sacredness, profaning baptism, joking about satanic invocations.
I am very well aware that, at times, protests aimed at obtaining the recognition of rights and opportunities have had to, and unfortunately still have to in some parts of the world, take shocking forms to change the status quo, to create cracks in the wall of indifference, which dominates the aspirations of those who find themselves in the condition of having to claim their equality as a human being. But that’s not what I witness in those shows. I do not see any battle for the affirmation of one’s dignity, for the demand for respect, for the affirmation from prejudice.
Dear Sanremo, dear Grammy, just as I must respect everyone’s right to love whoever they want, you must respect my right to love God. And values. Because if the apparent aim is the defense of rights, what is being achieved is a constant erosion of our values. And I’m not just talking about the Christian values. I mean the values that have no religion, the eternal ones, imprinted in our spiritual DNA, which can be summarized in the respect for one’s own dignity and that of others.
I wonder if there is a limit to the unworthiness of the performances that the Archons intend to bring on stage, but I have no doubts that they shall not prevail.