Some time ago in Los Angeles the Grammy Awards 2023 ceremony was held, one of the most well-known awards in the music industry world, comparable to the Cinema Oscars. During the evening many artists performed live, including Sam Smith and Kim Petras with the song Unholy. Their performance was criticized by part of the American public opinion for the blatantly “infernal” choreography, with references to occult symbolism and representation of dark rituals. Well, with such a title (and with such a chorus) I don’t think we could expect to see a ballet of colorful fairies, but maybe not even the contortions of a woman locked in a cage like not even in the most squalid clubs in Brooklyn, nor a guy surrounded by possessed individuals in worship. For me it was all really in bad taste, but anyway, can we say that during the Grammys a bit of “exuberance” is acceptable?! Even if it is an event of international relevance, which should celebrate music, which children also watch? Okay: let’s say it was artistic expression. But then we recover with some nice performance that brings back a bit of “light”, something that perhaps uses music to convey a message of love and beauty. But no! Because subsequently Dj Khaled took the stage, with his song God did, which he participated in with other distinguished colleagues, including Jay-Z, in a Last Supper served on a table lavishly set for a feast, during which he referred to himself as a god and to his words as the words of the New Testament.
Not to mention the elegance of the outfits: now more than an awards ceremony it seems like a kind of satanism fashion show. On the “red carpet” there is never a lack of references to the occult, demons and the murky. After all, the fashion world is certainly no stranger to esotericism: from Dior to Balenciaga, from Hermès to Schiaparelli. Recently the latter presented in Paris its collection inspired by Dante’s Inferno (don’t you ever get inspired by Paradise, eh!), which was attended by singer Doja Cat with an allusively infernal and – for me – quite disturbing dress. Then again, the Maison is the one that Chiara Ferragni chose for some of her clothes and accessories worn at Sanremo, including the necklace in the shape of a goat… oops, I meant to say “uterus” worn in support of the right to abortion.
But let’s get back to the Grammys: for years the performances have been characterized by references to the occult, vulgarity and sexual gestures. Only now the level of perversion has reached the point of triggering, in the minds of esotericism enthusiasts and not, the doubt that real rituals aimed at worshiping evil and mocking Christianity are being staged. You don’t need to be a conspiracy theorist to notice that during this and other events broadcast urbi et orbi the same patterns are often repeated: red dresses, occult symbolism scattered here and there on stage, desecration of Christian iconography, obscenity, promiscuity, orgiastic choreography, depictions of serpents, veneration of animals and all these nice things here. Madonna at the 2015 Grammys brought a Mephistophelian performance on stage in front of an enthusiastic audience and at Eurovision 2019 she practically celebrated a black mass. Which should not be surprising since the “queen of pop” has made blasphemy the cornerstone of her success: her performances, her concerts, her lyrics, everything in Madonna has a sinister interpretation. Try looking for the translation of her song Holy Water or Like a Prayer, which we hummed as little girls while playing with dolls (no, it’s not about a prayer…) Take a look at the videos of her concerts, her live shows, her way of dressing or the very tasteless photo shoot she did for Vanity Fair and perhaps what I’m trying to say will be clearer to you.
In reality I could go on endlessly with the list of artists who at a certain point in their career took a – let’s say – “dark” turn. Beyoncé, for example, who scatters her lyrics with vulgarity and blasphemy that makes you cover your ears (e.g. Blow, Drunk in love, Denial). And then again, to mention those perhaps best known in Italy, Katy Perry, Billie Eilish, Adele, The Weeknd, Taylor Swift, Ariana Grande, Nicki Minaj, Cardi B, Demi Lovato, Travis Scott, Lady Gaga. Speaking of Lady Gaga: the little song that many dance to with a smirk on their lips on TikTok with that idiotic choreography (I’ll dance dance dance. With my hands hands hands. Above my head head head) deliberately mocks the gospel message. No less is her song Judas in which she explicitly glorifies Judas or Bad Romance, with undeniable references in the video to alchemy and black magic.
The wonderful thing, however, is the inevitable “I wanna thank god”, pronounced by everyone, or almost, after collecting the coveted award on stage. Wouldn’t it be more correct for them to clarify which “god” they are thanking?
After all, it is known: either God or mammon…
And finally, from this murky slime, the immeasurable ego of the star emerges repugnant, 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 worshiped by evil characters exhibiting evil and taking pleasure in their own wickedness. If you pay attention, the theme of veneration of artists is constant in video choreography, legitimized to rise above ordinary mortals, a bit like Rihanna did at the Super Bowl a few days ago, “blessing” at the end of the performance all the audience with the inevitable triangle gesture. Clearly, in this sort of artistic neopaganism, the cult of the person is added to that of the objects they own, with the ostentation of clothes, watches, cars and villas worth millions of euros.
In short, to make it brief, many of the “kings” and “queens” of the American music industry are obsessed with evil and want to be idolized as gods.
Now, freedom of expression is fine, for heaven’s sake, but we have far exceeded the limits of decency and are already abundantly in the sphere of perversion. Beyond the squalor, “there is something rotten in Denmark” or should we say in Hollywood. Hollywood mocks God, mocks the sacred, is imposing an obscene and vulgar language on the world, is making music a sewer of swear words, base expressions, occult symbolism and veneration of evil. Hollywood in short wants to get us 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?
That there has always been a connection between the American music industry and esotericism is well known, or at least it is for those who, like me, are interested in this topic. The most famous and unthinkable singers have always hidden in a more or less evident way in their albums, lyrics and performances, occult esoteric symbolism. And they certainly did not do it naively, but because those who are behind the scenes of this world, who hold the reins, know perfectly well that subliminal messages work. And therefore they use the boundless influence of these characters (or should I say demigods) in order to get the message they want to convey 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, writings or images. And it is a sneaky language because it eludes the filter of our awareness. And the message with which they want to feed (read indoctrinate) our consciences is that somehow the worship of evil leads to success. Or perhaps, more precisely: that one must move away from Christ.
And that message settles in the mind, in thoughts and desires. It becomes familiar. So the black mass is no longer an abominable rite, but an innocent show during which the invocation of the intervention of evil forces is pure entertainment. Thus, insidiously, darkness has come out of darkness and perversion has risen to a model of behavior, with an implicit invitation to emulation by fans who praise the artist and wish to conform their own modus vivendi to his.
Unfortunately, the “Hollyweird” phenomenon has crossed the ocean and has also arrived here to “corrupt” the local music world. And I am not only referring to the singer who makes the umpteenth horns gesture with his tongue out or who has a snake tattooed somewhere (which really, wow! So you really are a bad guy!), but to the vulgarity of the lyrics, the ridiculing of the sacred, the obscenity imposed on the public, the way of dressing.
Even our Sanremo has been transforming for a few years now into a miniature Grammy since the parameter of decorum has been eliminated. Everything is allowed to impose one’s message and it is not considered that on the other side of the cameras there are children, elderly people, people who perhaps do not want to be “stared at” by the presenter’s nipples while having dinner. Singers and presenters can also show the lowest part of human instinctuality because an unappealable phrase echoes that immediately crushes any contrary argument: the defense of rights.
By now – and not only at Sanremo – women undress more and more because they must defend women’s right to dispose of their own bodies. And so, let me understand, would nipples be bearers of this profound message? Have them give a conference next time, I don’t know, take them to the European Court of Human Rights… I am convinced that women must 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 display one’s naked body and exceed good taste.
Just as I am in favor of recognizing civil rights in favor of homosexual people, yet I think there is no need to flaunt one’s orientation by simulating a sexual relationship on national television, because it is precisely those attitudes that “dirty” and make what is not actually obscene appear obscene.
I am in favor of all these things and yet I believe in God. And I believe that, in all this sea of words that praise respect, respect for those who believe has completely disappeared. Because by now on that stage you can do everything, recall evil in a more or less evident way, mock sacredness, desecrate baptism, joke about satanic invocations.
I am aware that, sometimes, protests aimed at obtaining recognition of rights and opportunities have had to, and unfortunately still must in some parts of the world, take shocking forms to modify the status quo, to create cracks in the wall of indifference and connivance that overshadows the legitimate aspirations of those who find themselves in the paradoxical condition of having to claim their equality as human beings. But this is not what I witnessed. I did not see any struggle for the affirmation of one’s dignity, for the demand for respect, for the just exemption from prejudice.
Dear Sanremo, 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 end is the defense of rights, in reality what is being achieved is instead a continuous, constant erosion, in small doses of our values. And I am not only talking about the values of those who believe. I am talking about values that have no religion, those eternal ones, imprinted in our spiritual DNA, summarizable in respect for one’s dignity and that of others.
I wonder if there is a limit to the infinity of representations that the Archons intend to stage, but I have no doubt that non praevalebunt.
Rona
♥
“Do not be deceived: God cannot be mocked. A man reaps what he sows.”
Galatians 6:7
