Music Artists Casting Spells On Their Listeners
- Thread starter Maddox
- Start date
I think all music has this effect in one way or another. There is something about music that speaks to our subconscious and our spirit. It plays an important role in worshipping God, as is clear biblically. Godly music can uplift your spirit and encourage you.
The demons understand the importance of music quite well. Pop music is cancer to the spirit.
The demons understand the importance of music quite well. Pop music is cancer to the spirit.
This practice is very old and goes back to our own childhoods and even further back to the beginnings of jazz and rock 'n' roll which are offsprings of african voodoo musical rituals.
I asked the AI Assistant Grok to imagine itself as one of the elders of Salem and prosecute one of these modern musicians as a witch.
The accused:
Lana Del Rey: In 2017, Lana Del Rey made headlines when she tweeted about casting a hex on then-President Donald Trump. She shared dates for a binding spell—February 24, March 26, April 24, and May 23—aligning with the waning crescent moon, a common witchcraft timing for banishing or binding. She wrote, “At the stroke of midnight… the ingredients can b found online,” hinting at a ritual. While she didn’t explicitly say her songs were spells, tracks like “Hope Is a Dangerous Thing for a Woman Like Me to Have – but I Have It” carry a haunting, incantatory vibe that fans tie to her witchy persona. Her music often blends mysticism with emotional manipulation, which some interpret as spellcasting through lyrics.
The Argument of Elder Samuel Parris Against Lana Del Rey, Witch
Good people of Salem, hear me, for the Devil walks among us in subtle guise, and I bring before you a most pernicious case of witchcraft wrought by one Lana Del Rey, a woman of strange voice and stranger deeds, whose works threaten the very soul of our godly commonwealth.
1. Her Confession of Diabolical Arts
Under the laws of this province, as set forth by the English statute of 1604 against witchcraft (1 James I, c. 12), it is a capital offense to "use, practice, or exercise any invocation or conjuration of any evil and wicked spirit" or to "consult, covenant with, entertain, employ, feed, or reward any evil and wicked spirit to or for any intent or purpose." This woman, Lana Del Rey, hath openly confessed to such acts. In the year of our Lord 2017, she did proclaim to the world her intent to cast a "hex" upon a man of high office, naming dates—February 24, March 26, April 24, and May 23—when she would perform this ritual, calling it a "binding spell" with ingredients to be found by her followers. This is no idle jest, but a public covenant with the Devil, inviting others to join her in league with Satan. Her own words damn her, as confession is the queen of evidence in matters of witchcraft, as we have seen with Tituba and others.
2. Her Music as a Tool of Seduction and Torment
The Scripture warns us, "Thou shalt not suffer a witch to live" (Exodus 22:18), for they afflict the godly with invisible hands. This woman’s songs—strange, mournful tunes like "Born to Die" and "Hope Is a Dangerous Thing"—carry an unnatural power to ensnare the mind and soul. They are not mere ditties but incantations, woven with repetition and melancholy to seduce the weak, much as the serpent beguiled Eve. Our young people, like the afflicted girls of Salem, might fall into fits or visions hearing such sounds, their spirits tormented by her spectral voice. Witnesses could testify, were they here, that her music stirs lust, despair, and rebellion against God’s order—clear signs of maleficium, the harm wrought by witches upon the innocent.
3. Her Pact with the Devil Evidenced by Her Fruits
The learned Cotton Mather hath written in Wonders of the Invisible World that witches bear the marks of their covenant with Satan, whether in body or deed. This Lana Del Rey flaunts no visible Devil’s mark—though a search of her person might reveal such—yet her deeds proclaim her allegiance. She calls herself a "witch" in the public square, boasting of spells cast under the moon, a time when witches gather at their sabbaths. Her wealth and fame, gained through these unholy songs, suggest the Devil’s reward, as no godly woman could rise so without divine favor. She doth not deny her craft but revels in it, a boldness that bespeaks a soul surrendered to the Prince of Darkness.
4. Spectral Evidence and the Affliction of the Godly
In this court, we have accepted the testimony of spectral evidence, as when the afflicted girls saw the shapes of Sarah Good and others tormenting them. Should any of our youth cry out that Lana Del Rey’s form appears to them in the night, singing her cursed melodies or bidding them to sin, it would suffice as proof. Her voice, carried by unnatural means across vast distances (what she calls "streaming"), enters homes without consent, a spectral invasion akin to the witches who flew to torment our Ann Putnam and Mercy Lewis. Even without such cries yet raised, the threat looms, for her intent to bind and harm through magic is plain.
5. The Law and God’s Command Demand Justice
The General Court of Massachusetts hath empowered us to purge this land of witchcraft, as seen in the executions of Bridget Bishop and others this very year. The statute of King James declares death for those who "take upon them by witchcraft… to provoke any person to unlawful love" or "to hurt or destroy any person in his or her body, although the same be not effected." Lana Del Rey’s spells, aimed at seduction and harm, fall under this law. Her music provokes unlawful love—lustful thoughts among the hearers—and her hexes seek to destroy. Though her victim be far off, the attempt itself is felony. God’s word and man’s law align: she must not live.
Conclusion: A Call to Judgment
Goodmen and goodwives, I say to you that Lana Del Rey stands as a witch in our midst, her crimes confessed, her arts evident, her danger clear. Let us not suffer her to corrupt our youth or defy our God. I call upon this court to examine her, to seek the testimony of the afflicted, and, finding her guilty, to deliver her to the gallows as the law and Scripture demand. Let the rope silence her songs, and may the Lord have mercy on her soul.
Notes on the Argument
Legal Basis: The 1604 Witchcraft Act, still in force in colonial Massachusetts, covered conjuring spirits and causing harm via witchcraft—broad enough to twist Lana’s hex into a capital offense. Salem courts didn’t need physical proof if intent and spectral evidence were present.
Puritan Lens: Her music’s emotional pull would be seen as diabolical seduction, fitting their fear of women as "weaker vessels" prone to Satan’s sway. Her public witch identity would seal the deal—no Puritan elder would tolerate that boast.
Execution: Hanging, not burning, would be the method, per Salem precedent.
The accused:
Lana Del Rey: In 2017, Lana Del Rey made headlines when she tweeted about casting a hex on then-President Donald Trump. She shared dates for a binding spell—February 24, March 26, April 24, and May 23—aligning with the waning crescent moon, a common witchcraft timing for banishing or binding. She wrote, “At the stroke of midnight… the ingredients can b found online,” hinting at a ritual. While she didn’t explicitly say her songs were spells, tracks like “Hope Is a Dangerous Thing for a Woman Like Me to Have – but I Have It” carry a haunting, incantatory vibe that fans tie to her witchy persona. Her music often blends mysticism with emotional manipulation, which some interpret as spellcasting through lyrics.
The Argument of Elder Samuel Parris Against Lana Del Rey, Witch
Good people of Salem, hear me, for the Devil walks among us in subtle guise, and I bring before you a most pernicious case of witchcraft wrought by one Lana Del Rey, a woman of strange voice and stranger deeds, whose works threaten the very soul of our godly commonwealth.
1. Her Confession of Diabolical Arts
Under the laws of this province, as set forth by the English statute of 1604 against witchcraft (1 James I, c. 12), it is a capital offense to "use, practice, or exercise any invocation or conjuration of any evil and wicked spirit" or to "consult, covenant with, entertain, employ, feed, or reward any evil and wicked spirit to or for any intent or purpose." This woman, Lana Del Rey, hath openly confessed to such acts. In the year of our Lord 2017, she did proclaim to the world her intent to cast a "hex" upon a man of high office, naming dates—February 24, March 26, April 24, and May 23—when she would perform this ritual, calling it a "binding spell" with ingredients to be found by her followers. This is no idle jest, but a public covenant with the Devil, inviting others to join her in league with Satan. Her own words damn her, as confession is the queen of evidence in matters of witchcraft, as we have seen with Tituba and others.
2. Her Music as a Tool of Seduction and Torment
The Scripture warns us, "Thou shalt not suffer a witch to live" (Exodus 22:18), for they afflict the godly with invisible hands. This woman’s songs—strange, mournful tunes like "Born to Die" and "Hope Is a Dangerous Thing"—carry an unnatural power to ensnare the mind and soul. They are not mere ditties but incantations, woven with repetition and melancholy to seduce the weak, much as the serpent beguiled Eve. Our young people, like the afflicted girls of Salem, might fall into fits or visions hearing such sounds, their spirits tormented by her spectral voice. Witnesses could testify, were they here, that her music stirs lust, despair, and rebellion against God’s order—clear signs of maleficium, the harm wrought by witches upon the innocent.
3. Her Pact with the Devil Evidenced by Her Fruits
The learned Cotton Mather hath written in Wonders of the Invisible World that witches bear the marks of their covenant with Satan, whether in body or deed. This Lana Del Rey flaunts no visible Devil’s mark—though a search of her person might reveal such—yet her deeds proclaim her allegiance. She calls herself a "witch" in the public square, boasting of spells cast under the moon, a time when witches gather at their sabbaths. Her wealth and fame, gained through these unholy songs, suggest the Devil’s reward, as no godly woman could rise so without divine favor. She doth not deny her craft but revels in it, a boldness that bespeaks a soul surrendered to the Prince of Darkness.
4. Spectral Evidence and the Affliction of the Godly
In this court, we have accepted the testimony of spectral evidence, as when the afflicted girls saw the shapes of Sarah Good and others tormenting them. Should any of our youth cry out that Lana Del Rey’s form appears to them in the night, singing her cursed melodies or bidding them to sin, it would suffice as proof. Her voice, carried by unnatural means across vast distances (what she calls "streaming"), enters homes without consent, a spectral invasion akin to the witches who flew to torment our Ann Putnam and Mercy Lewis. Even without such cries yet raised, the threat looms, for her intent to bind and harm through magic is plain.
5. The Law and God’s Command Demand Justice
The General Court of Massachusetts hath empowered us to purge this land of witchcraft, as seen in the executions of Bridget Bishop and others this very year. The statute of King James declares death for those who "take upon them by witchcraft… to provoke any person to unlawful love" or "to hurt or destroy any person in his or her body, although the same be not effected." Lana Del Rey’s spells, aimed at seduction and harm, fall under this law. Her music provokes unlawful love—lustful thoughts among the hearers—and her hexes seek to destroy. Though her victim be far off, the attempt itself is felony. God’s word and man’s law align: she must not live.
Conclusion: A Call to Judgment
Goodmen and goodwives, I say to you that Lana Del Rey stands as a witch in our midst, her crimes confessed, her arts evident, her danger clear. Let us not suffer her to corrupt our youth or defy our God. I call upon this court to examine her, to seek the testimony of the afflicted, and, finding her guilty, to deliver her to the gallows as the law and Scripture demand. Let the rope silence her songs, and may the Lord have mercy on her soul.
Notes on the Argument
Legal Basis: The 1604 Witchcraft Act, still in force in colonial Massachusetts, covered conjuring spirits and causing harm via witchcraft—broad enough to twist Lana’s hex into a capital offense. Salem courts didn’t need physical proof if intent and spectral evidence were present.
Puritan Lens: Her music’s emotional pull would be seen as diabolical seduction, fitting their fear of women as "weaker vessels" prone to Satan’s sway. Her public witch identity would seal the deal—no Puritan elder would tolerate that boast.
Execution: Hanging, not burning, would be the method, per Salem precedent.
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