Watching awards shows is an act of self-sacrifice that I suffer through a few times a year for the benefit of this site’s loyal readers. Although I strongly dislike sitting through these seemingly endless hours of televised garbage, I believe it is crucial to report on the messages that are being promoted throughout. Because, while most media sources focus their “coverage” on random items such as Cardi B’s boob dress, there is much more going on during these shows. And the young people who watch these shows absorb what is happening the same way a brand new sponge absorbs the dirty stinking water of a nasty kitchen sink. And, yes, in this beautiful metaphor, the dirty, stinking water represents the elite’s relentless social agenda.
Since 2009, my coverage of award shows mostly focused on the occult symbolism that was found during musical performances. However, in the past years, the propaganda of the occult elite shifted, morphed and evolved. Nowadays, it is less about exposing viewers to dark occult symbolism and more about directly dictating what the viewers should be thinking and what attitudes they should be adopting.
The 2019 VMAs was definitely not an exception. Everything was orchestrated to focus on specific social topics – all of which are in line with the elite’s agenda. The main one is “diversity”. As you can see, I placed the word between quotes because what is being promoted is the exact opposite of diversity. Instead of celebrating everyone, mass media now about carefully selects who has the right to be celebrated while shunning everyone else. It is about reducing people to a single label and treating them according to that label.
This tweet bothered me for several reasons. It reduces these two artists to the labels “big black woman” and “black gay guy”. Second, it doesn’t even make sense. There are many examples of successful “big black women”. This very VMA show spent about 20 minutes celebrating Missy Elliot. And did we already forget about her:
What truly bothers me is that Aretha Franklin was never reduced to the label “big black woman”. She was Aretha Franklin. While they make you think that we are “progressing”, we are actually regressing into the Stone Age. Instead of seeing people as complete human beings, “woke” society only sees people as being black, latino, gay or whatever else.
This insufferable trend of extreme virtue signaling has been happening for years and lots of people are sick of it. The result: The show got the lowest ratings in VMA history. A total of 1.93 million viewers watched the show – a 14% drop from last year (which was already the lowest ever).
The first performance of the VMAs perfectly illustrated the new agenda.
Taylor Swift Needs to Calm Down
If you’ve been reading VC articles, you already know that Taylor Swift is the ultimate industry pawn. Exactly 10 years ago, the 2009 VMAs heavily focused on Taylor Swift and ritualistically initiated her in the industry. Since then, she did everything necessary to remain in the good graces of the industry. A year ago, Swift did what she had to do: She renounced her political neutrality to fully embrace the elite’s “woke” agenda. I put the word woke between quotes because it is the exact opposite of being awake.
This year, her entire act is all about being pro-LGBTQ+ (even though she is not gay). And the way she is doing it is so over the top that it reeks of insincerity. More precisely, it reeks of an artist being used to push an agenda.
Taylor Swift performed You Need to Calm Down, a song that was solely created to pander to the agenda. It is so ridiculously over the top that it even annoyed gay people who did not particularly appreciate being used for a marketing ploy and being depicted in such a cartoonish, stereotypical manner. However, Swift is on a virtue-signaling rampage and nothing will stop her from out-virtue-signaling everyone else in the industry.
In my article about the 2019 Eurovision Finale, I highlighted the massive overrepresentation of drag queens throughout the show. None of this is random, it is part of the “gender blurring” agenda that was identified on this site several years ago. It only keeps intensifying.
Taylor Swift’s performance of You Need to Calm Down ended with a specific political message.
What is exactly this thing that is being promoted on MTV by a famous pop star? Well, despite what Taylor Swift said, the Equality Act is not about “treating people equally”. It is an aggressive piece of legislation that calls for an in-depth transformation of the justice system and a radical redefinition of core concepts in society. Here’s an explanation of its profound implications.
First off, the Equality Act does a lot more than just make people equal. It adds sexual orientation and gender identity to Title VII of the Civil Rights Act, enshrining full protections under the law and trampling over the right to religious freedom enshrined in the First Amendment. In cases of competing rights claims, the Equality Act mandates that sexual and gender minorities win by default, when current standards under the Religious Freedom Restoration Act allow for a weighing of both sides. This doesn’t make gay and transgender people equal — it elevates their rights over those of religious minorities.
Plus, the Equality Act goes beyond sheer support for equality to radically redefine core concepts in our society. For one thing, the Equality Act’s definition of “public accommodation” is so open-ended and expansive that it would basically apply to almost anyone offering a service, even single-person businesses run from home. This sets up crazy nightmare scenarios, like one where a woman operating a waxing service from home could be forced by the law to wax a transgender woman’s (biologically male) penis and testicles.
But elites like Taylor Swift think you’re a bigot for opposing such a bill.
And the Equality Act’s radical re-definitions don’t stop there. It also re-defines sex — not gender — under the law as subject to self-identification. Many Americans, likely including Swift fans of varying political backgrounds, are simply not comfortable with eradicating biological sex under the law, and that doesn’t make them evil opponents of equality.
– Brad Polumbo, Taylor Swift’s VMA virtue-signaling wildly distorts the Equality Act
If Taylor Swift truly cared about people, equality or whatever, she probably wouldn’t have hung around notorious industry monsters.
The Host Said the Wrong Jokes
When I saw this 46-year-old stand-up comic come out from a cloud of smoke to host the VMAs, I was shocked. It was definitely not expected. I mean, Maniscalco’s entire career is based on making jokes from the perspective of an aging Italian guy who has zero patience for things such as social media and political correctness. And there he is, in the holy temple of social media and political correctness, making jokes about these very things. And he stayed true to his style. After joking about people who record live events on their phones and social media influencers, Maniscalco bashed the concept of safe spaces. The comedian said:
“MTV noticed that we’re living in an ultra-sensitive times. So if you feel triggered or you feel offended by anything I’m saying up here, they’re providing a safe space backstage where you’ll get stress balls and a blankie. And also Lil Nas X brought his horse which will double as an emotional support animal. Personally, I would remove you from the arena, put you in your car and send you home … but they opted with the safe space.”
Fans of Sebastian Maniscalco most likely recognized his trademark jokes and general attitude. However, media sources did not appreciate his jokes at all. And, in typical mass media fashion, Maniscalco quickly became the target of attacks.
Luckily for those who were triggered by the host, the VMAs went right back to pandering to the agenda.
French Montana Talks Immigration
When French Montana came up to the mic to present the award for best Latin video, he began with a profound statement:
“Can I get a hhaaaaann?”
Then, for no reason at all, he proceeded to talk about immigration. He was probably asked to do so.
“I’m so proud to pronounce this award because, as an immigrant ** applause ** I feel like we are the people that make this country and I feel like I wanna be a voice.”
Then Alison Brie goes full-on political.
“What is happening to immigrants in this country is unconstitutional and frankly disgusting.”
So, once again, the awards were hijacked to push a specific agenda. This time, it is about lumping together (and purposely confusing) legal immigration with massive illegal immigration. This mix up is done on purpose. It enables media to call anyone who is against the elite’s agenda of open borders a racist.
Montana then continues with more disinformation:
“These nominees, and most of them are immigrants too, are topping the biggest movement in music, check them out.”
Here, Montana appears to be confusing being Latino with being an immigrant. Not all Latino people are immigrants. The nominees Bad Bunny and Daddy Yankee are Puerto Rican and they still live there. Maluma is Columbian. Benny Blanco is a Jewish guy from Virginia. The winner of the award, Rosalia, is from Barcelona, Spain. She’s not even Latina, she’s European. None of them immigrated to the U.S. or anywhere else.
When the nominees were announced, things got symbolic.
Billy Ray Cyrus and Lil Nas X Relationship
Nearly every song presented on the VMAs had to have some kind of “woke” narrative attached to it. And Billy Ray Cyrus, the biggest sell-out the history of country music, did his part.
Lil Nas X’s Old Town Road was a massive hit and definitely deserved to be on the VMAs. However, the narrative that was attached to it by mass media is pure artificial creation.
Billy Ray said:
“I’m so proud of this guy. Not only did he shatter records but, more importantly, he inspired people around the world to be their true selves. He also changed the way we defined and categorized music and I thank God for that.”
Once again, things are being distorted to fit a narrative. Here’s a quick story Old Town Road.
Lil Nas found the beat of Old Town Road on the SoundCloud page of Dutch producer YoungKio. The beat sampled the Nine Inch Nails song Ghost IV – 34 and Lil Nas bought it.
In an interview with Billboard, YoungKio stated that he was not aiming to create a “country-rap” song.
“I tried to keep as much of the originality of the sample, but I also wanted to have the trap vibe, so I sped it up. I didn’t really have any country thoughts about it. It was just me trying to find a challenge for myself and randomly stumbling on a sample like, “Damn. I have to do something with this.” (…)
This beat is a trap beat with a rock-type sample. That’s how I see it. It’s not a country beat. I didn’t make it with that thought behind it, but he turned it into a country-type song with what he did with the lyrics, his vocals and just promoting that way.”
– Billboard, Old Town Road’ Producer YoungKio on How Lil Nas X’s Song Came to Life
Lil Nas X independently released a video of Old Town Road on his YouTube channel with footage from Red Dead Redemption II, a popular video game about cowboys which appears to be the inspiration behind the song.
When the song went viral, Nas was quickly signed with Columbia records. The elite agenda quicked in quickly afterward.
When the song became a hit, narratives and controversies were created around it. First, they kept trying to get the song categorized as “country” and those who were against it were called racists. I don’t know much about country music, but I can tell you that Old Time Road is 100% trap and 0% a country.
Then, Lil Nas came out as gay which added a whole LGBTQ+ dimension to his story. Then, he went on the VMAs.
He’s really an industry pawn now.
Jonathan Van Ness
Right after Lil Nas X’s performance, Queer Eye host Jonathan Van Ness came out to present the “Video for Good” award – a category that is solely dedicated to virtue signaling. Why? Because, in his words:
“It is 2019 and not caring is NOT CUTE!”
Behind this weird phrasing is a veiled threat: Either you push the agenda or you’re out of the industry.
Of course, Taylor Swift won the award for her video You Need to Calm Down. Everything in this award show was scripted to celebrate Taylor Swift and her song.
The Miley Cyrus Narrative
The daughter of the biggest sellout in the history of country music performed at the VMAs. Why was she there? Was it for her chart-topping, groundbreaking songs? Of course not. It is because there’s a whole narrative surrounding her lately.
Miley performed Slide Away, which is a song about breaking up. Coincidentally enough, Miley Cyrus is in the midst of an overly-publicized divorce with actor Liam Hemsworth. Now, she is in an overly-publicized relationship with the blogger Kaitlynn Carter.
While none of these facts are particularly interesting or relevant to anyone, mass media made it a point to publicize everything about this relationship. Why? Because there’s a narrative behind it.
And that’s why she was on the VMAs.
The 2019 VMAs were difficult to watch. The show was so predictable and the agenda was so obvious that it was the equivalent of watching a political ad that lasts three hours. There is nothing novel or rebellious about the messages being pushed: The same exact agenda can now be found in all award shows across the world. Why? Because there’s a centralized source of power that calls the shots and that decides which messages need to be promoted to the youth.
However, the entertainment industry is so disconnected from the interests and the concerns of the general public that it successfully alienated most of its viewership. By turning “entertainment” into outright “propaganda”, the elite forced lots of people to realize that their idols and heroes are actually slaves pushing toxic garbage. They’ve created a culture of hypocritical virtue-signaling, oppressive political correctness, and widespread censorship. While they believe they are changing the world, the world is actually … changing the channel.
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