The 2014 VMAs: All About Oversexualization Pushed by Music Industry Puppets

The 2014 VMAs were focused on a single theme – a theme that was expressed using most of the stars of the show. From Nicki Minaj and Ariana Grande to Iggy Azalea and Beyonce, the sight and the sounds of the VMAs were about one thing: Oversexualization using Illuminati puppets.

Last year’s VMAs were all about Miley Cyrus acting like a fully programmed Beta Kitten. This year, nearly all of the performers who took the stage were acting like fully programmed Beta Kittens. When the “highlights” of an award show are the butt implants of Nicki Minaj and Iggy Azalea, you know there wasn’t much substance there. After the show, MTV reported as “news” that Austin Mahone said about Nicki Minaj:

“Her butt was just huge. That was all I could focus on.”

This pretty much sums up the 2014 VMAs: a dumbstruck audience staring at butts for a few hours, mixed with some industry pawns getting shiny trophies. While some viewers might say “That was awesome!”, let’s not forget that the target audience of MTV are “millennials” – those that are born after the year 2000. Think about this. Children 14 years old and younger are the ones growing up watching this, absorbing the sights and sounds. And the sights and sounds of the 2014 VMAs sent a clear message to these youths.

Oversexualization means, simply, “sexualizing excessively”. Yes, making love is a wonderful part of life, but when this act is debased, corrupted, exploited, and sold to young, immature minds, it can produce lifelong negative psychological and interpersonal effects. However, to the occult elite, those effects are desirable because it produces a population with “loose morals”, which is just the kind of population they are looking to create.

As usual, the VMAs featured small selection of performers. Even “crowd reaction” shots were focused only on a few guests, namely Katy Perry, Taylor Swift, and Kim Kardashian. In short, the 2014 VMAs were all about the industry kittens.

Here’s a look at the main stars of the VMAs and their main message. You will probably realize that they are all similar, almost as if they were controlled by the same people. Newsflash: They are.

Ariana Grande

Ariana Grande mastered the “I-am-so-young-and-innocent” look during her TV career. That look is now combined with skimpy outfits to please perverts around the world. Even the host of the show, Jay Farrow, addressed the uncomfortable feeling caused by Grande’s act.

“Ariana Grande is killing it right now. I’m attracted to her and, you know, I feel a little weird about it because … she looks kind of young, don’t she? You should not be a grown man enjoying Sam & Cat just like your five-year-old nephew. He’s like: “Uncle I like her”. I’m like: “I like her too baby, she’s amazing”.

Ariana Grande is currently getting a huge push from the industry to launch her career. Unsurprisingly, she is already pushing the messages and the symbolism that comes with being an industry puppet.

Nicki Minaj

As documented in several articles on this site, Nicki Minaj has been used to push all kinds of Agendas in the few past years. Her latest single, Anaconda, is a continuation of her doing exactly what the industry wants her to do. The song samples Sir Mix-A-Lot’s I Like Big Butts and repeatedly uses the line “My anaconda don’t want none unless you got buns, hun” which can be translated to “You will not attract guys if you do not have a gigantic butt like Nicki Minaj’s”. When Sir Mix-A-Lot rapped this line in the original song, it was kind of funny and amusing. But, in the context of Minaj’s song, it became a way of making young girls feel inadequate.

If you’re able to not focus exclusively on her butt and listen to the lyrics, you’ll notice that each verse is about Nicki banging a different guy. Because he has money. Pretty uplifting.

This dude named Michael used to buy motorcycles
D*ck bigger than a tower, I ain’t talking about Eiffel
Real country ass n***a, let me play with his rifle
P***y put his ass to sleep, now he calling me NyQuil
Now that bang bang bang, I let him hit it cause he slang cocaine
He toss my salad like his name Romaine
And when we done, I make him buy me romaine
I’m on some dumb s**t

The last line of this verse is quite accurate. But things get dumber. A part of the song repeatedly says “Oh. My. Gosh. Look at her butt”. Meanwhile, during her performance Nicki shook her surgically enlarged behind continuously. It’s these moments of clarity where you realize that our civilization has reached a new cultural low and that we are not far from Roman-style all-out decadence.

Of course, one might say: “It’s a fun song about big butts! Get over it pal!”. Well, okay, pal. Let’s look at the other performance given by Minaj:

It was not just one song. The entire awards show was all about selling “it” through industry puppets.

Jessie J

For some reason, Jessie J is always invited to big events. Maybe it is because she’s always been down with the Illuminati Agenda. In this case, her single Bang Bang fits perfectly in the overarching theme of the 2014 VMAs. Here is the chorus of the song:

Bang bang into the room (I know you want it)
Bang bang all over you (I’ll let you have it)
Wait a minute let me take you there (ah)
Wait a minute tell you (ah)
Bang bang there goes your heart (I know you want it)
Back, back seat of my car (I’ll let you have it)
Wait a minute let me take you there (ah)
Wait a minute tell you (ah)

Jessie J is just another puppet selling “it” to the youth.

Iggy Azalea and Rita Ora

Iggy Azalea and Rita Ora have both been featured on Vigilant Citizen because they push the Illuminati Agenda (see my article on Iggy’s  video celebrating Kitten Programming). In the VMAs, they performed the song Black Widow, which is the name of venomous female spiders who eat the males after mating. Guess what the song is about? Yup, copulating with a guy and killing him afterwards. Vengeful, evil copulation mixed with death. That is the kind of crap the industry loves to promote.

Beyonce

Not unlike the VMAs of the past few years, Jay-Z and Beyonce acted as the “royal family” of the awards. Beyonce was given the Video Vanguard Award and got to perform a whole lot of songs. Beyonce being awarded in this edition of the VMAs makes sense, since for years she has been the main figure of the Kitten industry. As stated in several articles on this site, Beyonce has been used to push all aspects of the elite’s Agenda.

As expected, Beyonce’s performance got rather raunchy and explicit. Here’s a verse from her song Partition.

Driver roll up the partition please
I don’t need you seeing Yoncé on her knees
Took 45 minutes to get all dressed up
We ain’t even gonna make it to this club
Now my mascara runnin’, red lipstick smudged
Oh he so horny, yeah he want to f**k
He popped all my buttons and he ripped my blouse
He Monica Lewinski’d all on my gown

This was intertwined with a confusing bit about feminism.

While Beyonce was performing, the camera kept cutting to Jay-Z and Blue Ivy.

While the presence of Blue Ivy was somewhat heartwarming, there is a question that is needs to be asked. Is anyone else bringing their kids? Why is she so present and publicized? Does she need to be in that spotlight? In the context of these VMAs – which are almost ritual dramas, yes, she needed to be there. She is the heir of the royal couple. Like all of the young people around the world, she witnessed a few hours of intense oversexualization. And then she saw her mother get a trophy for it. The Agenda is about implementing values to the younger generation. And Blue Ivy represented that. And that is how the VMAs ended.

In Conclusion

This year’s VMAs did not contain the usual occult symbolism that is described on this site. In fact, it did not contain much substance at all. It focused solely on an key part of the industry agenda: Sexualizing the youth and exposing them to debasing, degrading messages. It is about associating art, music and creation with the exploitation of lust. As seen in the lyrics and images above, the “stars” of the show are not independent artists, they are puppets part of the same system, all linked together under the “one-eye sign”.

In an ideal world, this kind of spectacle would prompt viewers to question the state of modern society’s mass art and culture, which is constantly sinking to new lows. It would make viewers wonder why all this “music” has become a homogenous cesspool of overstimulating, mind-numbing messages. Unfortunately, most viewers will have just one reaction to the 2014 VMAs: “Look at her butt!”

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