I understand that it’s “awards season” for Hollywood and Musicland, and I would have blissfully missed all of the hullabaloo from the latest Grammys thing were it not for the MSM treating these self-congratulatory-narcissism-fests as newsworthy.
Unlike the MTV Video Music Awards from a few months back, where Miley Cyrus garnered most of the attention for “twerking” in a latex “outfit” and doing a bunch of other raunchy stuff on stage, this time there’s a bit of controversy over whether Katy Perry or Beyonce gave the weirdest, scariest, and most inappropriate performance of the night on network primetime television.
Apart from the blatant violation of decency standards (it really is unbelievable that these shows can be broadcast at 8 o’clock!), there’s an even more disturbing element, which is the unmistakeable introduction of occultish or demonic imagery. Smoke, broomstick stripper poles for an ersatz burning at the stake, shadowy figures in the background wearing masks with great horns, gnarled forests of dead trees, with only illuminated red templar crosses to prevent wardrobe malfunction. And all of this with no mention of Lady Gaga.
We are being conditioned to believe that this type of imagery and activity is totally harmless. Look, there’s a beast figure with horns gyrating in the background, but it doesn’t mean anything, it’s just an aesthetic. Just listen to the music. Hey, we’re far more enlightened now that women who publicly reject Christ and seek to become an occasion for sin are only subjected to simulated stake-burnings. We should be congratulating ourselves on having become so much more evolved than those terrible olden times when morality had a place and value in entertainment.
All of this may seem rather innocuous, but I guarantee that it is made to seem that way. There is something behind the surface, and the fact that more of what may have previously been shadowed is now visibly apparent should not be taken as a comforting sign.
And, consider this “coincidence” although I don’t think it is truly coincidental, and there are plenty more examples: the female “performer” is always clad in a skimpy outfit (and oftentimes peels off some of the “excess skimp” during the performance), while she grinds and gyrates, until about the midpoint of the performance, when a male performer — a “rapper” or some other “talent” — shows up to be “gratified” by what the female “performer” is doing.
The male performer is dominant. He has the power. He’s fully clothed, wearing a fancy bespoke suit. He’s usually wearing dark glasses, you cannot see his eyes. He is the contemporaneous purveyor and consumer of the sex on sale. He watches the female performer whip up the crowd until he feels like rolling out on stage to show everyone who’s really in charge of things. And he has no qualms about leading the audience in further objectifying the female performer. She won’t be paid, won’t be given a stage upon which to perform in the future, and won’t be permitted to continue to be a role model to young women unless she surrenders her dignity, and subjects herself to the power structure.
In this sense, occult symbolism or not, the male performer is there to personify the Devil. He enjoys reducing female talent and beauty to the lowest common denominator of sexual degradation, and it delights him that all he has to do to get her to take of her clothes and offer herself is give the same empty promises of fame and fortune, of which he has plenty of both.