In the search for the criteria of the divisions that emerged between people like an abyss in 2020, when the majority fell for a contrived crisis, no antonymic pattern has offered a convincing explanation: educated-uneducated, smart-stupid, beautiful-ugly, generous-selfish, religious-atheist, white-black, brave-timid, diligent-lazy, fat-thin, fast-slow, nimble-clumsy, good-evil, extrovert-introvert, etc. None of these oppositions helped explain why some people became obedient to the questionable (and, frankly, random) requirements of the pestilence state, and why some didn’t or even rebelled.
With some exceptions, conformism could be seen as a common factor in unquestioning submission to authority, though this did not mean all “conscious” individuals were non-conformists. Fear transformed rational persons into irrational, trembling creatures, while many clever people were broken by banal visual manipulation, persistent hypnotizing with necrophiliac opulence, alongside the pathos of low-budget horror movies. Aggressive dogma enforcers readily separated society according to a twisted matrix—liberal, modern, consumerist-minded “responsible believers” versus backward “irresponsible skeptics”, displaying the absurdity of the pandemic screenplay.
During Covid, aggressive dogma enforcers readily separated society according to a twisted matrix—liberal, modern, “responsible” believers versus backward “irresponsible” skeptics, displaying the absurdity of the pandemic screenplay.
In Serbia, where I live, the least skillful actors, along with worn-out and forgotten music performers radiating indoctrination and enslavement to form, were recruited for this reason. This had a huge impact on the narrative’s erosion. Those considered fearless, unruly, and talented remained on the sidelines, challenging the limits of global lunacy and asking explicit questions. Even in my own surroundings, both categories, with their distinct artistic backgrounds, displayed similar types of segregation. Was it the same around the world?
Pop and rock musicians began to impact countries’ overall health campaigns already in the 1950s, after Ella Fitzgerald and Elvis Presley publicly lobbied for polio immunization. The same strategy was used in 2021 via mostly faded stars such as Elton John, David Coverdale, Bruce Dickinson, Ozzy Osbourne, Dolly Parton, Brian Wilson, Paul McCartney, Bono, and many others who went back and forth trying to compose “jab celebrations songs”. Of course, we are not discussing here harassment of autistic youngsters and dilettante tunes that sound and look more like sequences from a psychiatric institution than a plea to “be responsible”. Woke has degenerated from being the expression of sensitivity to systemic injustices and prejudice, or even representing an anti-establishment stance in urban music like hip hop and modern RnB, at least pro forma, to a demonizing cultural weapon, exposing its most recent “health emergency” perversity, which Nick Cave also noticed, albeit shyly. Still, some musicians changed their opinions and made slightly dismissive remarks about trans ideology and cancel culture—after participating in pandemic advertising, see Carlos Santana and Alice Cooper.
But social media also emerged as a fount for dissonant messages by Eric Clapton, Van Morrison, Nicki Minaj, Kanye West, Kid Rock, Morrissey, Richard Ashcroft, Ian Brown, Ted Nugent, Jon Schaffer, Right Said Fred, and other “anti-vax” celebrities. Regardless of musical taste, even a cursory glance at both lists might suggest something beyond generational gaps. A week ago, I came across a famous shot from the Freddie Mercury Tribute Concert in 1992, showing George Michael and Brian May in close-up. I felt prompted to ask myself how George Michael would react to today’s madness, considering his brilliant creativity and keen, outspoken opinions on violent politics and all-mighty corporations, such as Sony. I simply feel that genuine artists cannot conform to foolish authoritarian demands. Granted, another musician from the same photo, “Sir” Brian May, who begged people in a crying voice to stay home and get vaccinated, cut a pitiful or terrified figure. However, unlike the immense talent of Freddie, who demanded rhythmic perfection in the studio, May’s virtuosity relied on repeating pentatonic and diatonic scales rather than on original creativity.
Yet, Brian May’s lockdown and vaccine advertising efforts could also be perceived as a result of external incentives, not terribly different from his previous animal rights and climate activism. May’s scholarly accomplishments, including a PhD in astrophysics, and involvement in projects at Johns Hopkins University, which was recognized for hosting “a high-level pandemic exercise” in October 2019, suggest his implicit alignment with globalist agendas and establishment values. Following his resonant pandemic activism and yearning for the glitter of scientism, Brian May was finally awarded with the highest academic distinctions in 2022, leading to his official knighthood in 2023.
Let us now return to the first person in the snapshot, not to compare physical appearance, sexual orientation, or habits (heavy smoker vs staunch non-smoker, for instance), but to delve into more profound mental structures. Would George Michael, known for addictive behavior yet also a musical perfectionist and multi-instrumentalist, handling everything from recording to post-production, have disappointed me over the last four years in the same way that vice-free Brian May has? I wager that he would not! His Wham! companion Andrew Ridgely, less talented in songwriting, and thus remaining in the deep shadows, annoyed me as expected when he joined the deplorable celebration of delusional heroes, honoring “all frontline medical staff worldwide”. But this too supports my initial assumption on a correlation between (lack of) creativity and an appetite to assist in lousy scripts.
Given George’s liberal outlook on life, and his disobedient personality visible in his responses to an unjust society, along with his mid-1980s support of the working class, including an alleged membership in the Young Communist League (Wham! performed a benefit gig for the miners in 1984), I feel that he would have been on the righteous side when it comes to overwhelming pseudo-leftist hysteria (health, climate, energy), including a healthy distance from deranged transgender freak-show elitism embodied in performers like Sam Smith.
Given George’s liberal outlook on life and his disobedient personality, I feel that he would have been on the righteous side when it comes to overwhelming pseudo-leftist hysteria (health, climate, energy), including a healthy distance from the deranged transgender freak-show elitism embodied in performers like Sam Smith.
I conclude this from George Michael’s fascinating interviews, his entire artistic oeuvre and smooth aesthetics that confronted wars, brutality, corrupt regimes, and predatory capitalism, as well as through his unique soul, which manifested itself in anonymous charitable deeds celebrating love and life. In contrast, I strongly believe that anyone who considers himself an artist and has either been deceived by or contributed to spreading the inhumane Covid narrative should deeply rethink their own creativity, intuition, ethics, spirituality, and above all, their humaneness.
It is possible though that I’m completely wrong. We have seen enough instances of that, and I would not trust even Motorhead’s Lemmy (if indeed he were alive today) to stick up his middle finger to the PMC. However, the case of another politically and socially engaged creative duo from the 1980s, who have not publicly endorsed the bizarre initiatives of the world’s elites after 2020, bring me some confirmation. Tears for Fears, after an almost 30-year hibernation, released a new album which I saw from the outset as a courageous, uncompromising subversion driven by internal necessity, not commercial motives. I want to believe that Curt Smith’s tweet was just an inept mimicry to avoid the resentment of the purveyors of the official narrative and mask the true message of The Tipping Point, an album that opposed the collapse of personal freedom, implementation of collectivism, and widespread planetary craziness induced by phenomena the band had already sang about at the end of the Cold War era. As for Curt’s tweet, I forgive him; his reduced focus on songwriting compared to his bandmate Roland Orzabal strengthens my trust in the idea that something is happening between creativity, mere performance, and conformity to dictates.
