The 2017 Grammy Awards featured pop stars taking aim at Trump while elevating Beyoncé to a goddess-like status. It was a 2017 update of the elite’s agenda.
All award shows contain carefully planned “highlight moments” to be discussed by mass media in the following days. The 2017 Grammys were no exception and, this year, these “moments” had a specific political message which clearly spelled out what the elite expects from people this year.
At the moment, Trump can be likened to cartoonish ‘bad guy’, a racist, irrational, egocentric, intolerant, capitalist, patriarchal, misogynistic, incompetent tyrant who needs to be removed from power right away. Trump is the common enemy around which the nation’s youth can be rallied against. It is almost as if Trump is playing a role to “make the elite’s agenda cool again”. The elite’s motto is “Order after chaos”. Trump is the “chaos”. The elite’s agenda is the “order” to fix it.
In the Grammys, the anti-Trump message reached its apex when Busta Rhymes took the stage and called Trump “Agent Orange” (which is also the name of a toxic herbicide used by the US army in Vietnam) – a perfectly cartoonish villain name.
Opposed to Agent Orange was Beyoncé who played the role of an awe-inspiring mother-goddess, surrounded by an aura of purity. She was the queen of the ceremony and the recipient of universal praise.
As in tradition, Beyoncé was the queen of this awards ceremony. While most artists offered sober performances, hers was an intense visual and auditory experience interlaced with powerful words and symbolic imagery.
Shortly before the Grammy awards, Beyoncé made a grandiose pregnancy announcement which caused mass media to lose its damn mind. Some headlines were going to strange emotional depths, stating that “it was just what this nation needed”.
This mass media response was planned. Beyoncé’s team did everything right to make this moment as iconic and transcendent as possible.
Strange fact, a Twitter user by the name of beyoncefan666 accurately predicted Beyoncé’s pregnancy announcement in July 2016.
Media frenzy around Beyoncé’s pregnancy began when she posted an eye-catching picture on Instagram.
While everybody and their mother were gossiping about this picture, nobody seemed to notice an extremely important item in there: The veil. Why is her face covered by a pale veil while announcing her pregnancy? Veils traditionally represent a bride’s virginity.
“An occasion on which a Western woman is likely to wear a veil is on her wedding day. Veils covering the hair and face became a symbolic reference to the virginity of the bride thereafter. A bride may wear the face veil through the ceremony. Then either her father lifts the veil, presenting the bride to her groom, or the groom lifts the veil to symbolically consummate the marriage.”
By combining a symbol of virginity with her pregnant belly, we get a bizarre message about the babies being conceived without sexual relations – not unlike the Virgin Mary.
Beyoncé’s Grammy performance went even deeper into Virgin Mary symbolism while emphasizing the concept of immaculate conception.
Not unlike in her video album Lemonade, Beyoncé’s look is greatly inspired by the goddess Oshun. There are however added elements.
Around her head are two ancient spiritual symbols: a halo and solar rays. These are often found on classic depictions of the Virgin Mary.
Halo: Also called a nimbus. A
The seven solar rays around Beyoncé’s head gave her performance an even deeper esoteric meaning – one that refers to occult mysteries.
During her visually-intense performance, Beyoncé was surrounded by loyal followers who revered the grounds she walked on. At one point, things got weird.
Despite being a human goddess, Beyoncé is nevertheless submitted to the will of the industry that controls her. That chair represents the industry that could easily hurt her and her children. The same concept – a goddess controlled by dark forces – is at the core of her video-album Lemonade (read my full analysis of it here).
Despite her goddess-like status, Beyoncé did not win album of the year. It was won by Adele whose Grammy performance was the EXACT opposite of Beyoncé’s composed and ethereal offering. Indeed, Adele messed up the song tributing George Michael and cursed on live TV, something she kept apologizing for afterward.
During her acceptance speech, Adele went on a bizarre rant about how she’s obsessed with Beyoncé, even saying:
“I want you to be my mommy”.
That is a bizarre thing to say. But it is the perfect thing to say to the woman who played the role of the archetypical life-giving mother goddess alive in the flesh.
Believe it or not, Trump’s election was the best thing that could happen to the elite’s agenda and the entire mass media system supporting it. In the past years, traditional media (including news and entertainment) was growing stale and losing influence. Trump’s election deeply re-energized this entire system by giving it a new sense of purpose. The elite’s agenda can now be presented as the solution to defeat Trump who is #notmypresident.
It can now be associated with revolt and rebellion, two things that young people find appealing. The Agenda is now “fighting the power” and its message to the youth this year is “resist”.
Katy Perry’s Chained to the Rhythm is a perfect example of pop culture using Trump to give itself a contestatory edge. While Perry has been used, for years, to push various aspects of the elite’s agenda (see my several articles about Katy Perry here), she is now telling people to “wake up” and so forth.
Are we crazy?
Living our lives through a lens
Trapped in our white picket fence
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
The thing is, she is a part of the bubble. She is part of the mass media system that uses celebrity worship to push artificially created narratives.
The message of this song is rather confusing. People are apparently trapped in their houses with white picket fences. They are “too comfortable and should get out of their bubble”. This is coming from a pop star who lives in a $20 million estate.
She seems to forget that millions of Americans would actually LOVE to own a house with a picket fence. Millions actually lost their house in the 2008 market crash that was all but engineered by her elite rulers.
During her performance, raging waters and hellish fire are projected on the house.
Then Skip Marley (Bob Marley’s grandson) sings a verse that sums up what the elite wants from the youth at this particular point and time.
“It is my desire
Break down the walls to connect, inspire
Ay, up in your high place, liars
Time is ticking for the empire
The truth they feed is feeble
As so many times before
They greed over the people
They stumbling and fumbling
And we’re about to riot
They woke up, they woke up the lions”
When reading these lyrics, we realize that we are in an interesting time in History. Revolutionary vocabulary is used against Trump, a temporary visitor of the White House and is threatened with riots. Meanwhile, the true elite, which remains in power no matter who is President, is untouched. It is the invisible puppet master pulling the strings behind the scenes.
After Marley’s verse, the American house is completely taken apart.
Speaking of the Constitution, the legendary rap group A Tribe Called Quest performed a song entitled We The People. While rap music always had a contestatory element to it, this song takes aim at very specific policies.
“All you Black folks, you must go
All you Mexicans, you must go
And all you poor folks, you must go
Muslims and gays, boy, we hate your ways
So all you bad folks, you must go”
While rap music has always been on the side of minorities, it is currently being co-opted to fit a wider globalist agenda. Not only is Trump being rejected (which was to be expected), but the opposite of his policies (i.e. open borders) is simultaneously being promoted. When the time will come to replace Trump, the “answer” to him will be 100% in line with the elite’s agenda. And people will perceive this as a victory.
The 2017 Grammy Awards was one of contrasts and duality. It elevated to the level of holy deity the “queen” of the elite’s industry while vilifying and rejecting the “king” of the United States.
Trump is depicted as an angry old man consumed by earthly things such as hate, greed, and power. Beyoncé is surrounded by the divine aura of a child-bearing goddess. Through this powerful symbolism, the Grammys explicitly tells the viewers what to reject and what to embrace.
So, no the Grammys are not “about the music”. They are about everything else. If you like music but don’t feel like being lectured for three hours, the only thing to do is follow Ceelo Green’s lead and leave the party.