Jay Z, born Shawn Carter, is an American rapper, songwriter, record executive, and entrepreneur. With an impressive career spanning over three decades, he has become one of the most influential figures in the music industry. Known for his distinct style and lyrical prowess, Jay Z has amassed a large and dedicated fanbase. However, a controversial rumor that has surrounded Jay Z for years is his alleged affiliation with the occult and witchcraft. This rumor seems to have originated from his frequent use of symbolism associated with occult practices in his music videos, album covers, and performances. Some believe that these symbols are an indication of his involvement in secret societies and witchcraft.

Ministry founder goes viral comparing Beyoncé to a ‘witch’ who holds covens

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Tiphani Montgomery labeled Beyoncé a "witch" in a viral sermon. Tiktok / , prophetesstiphani; Getty Images

Some believe that these symbols are an indication of his involvement in secret societies and witchcraft. One commonly cited example is the infamous "Roc" hand gesture often seen during Jay Z's performances, where he forms a triangle with his hands. This hand gesture is believed to be a symbol associated with the Illuminati, a secret society believed by some to control world events.

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Warning: Attending a Beyoncé concert could break your soul — according to one self-described “mouthpiece for God.”

Tiphani Montgomery, 40, is sparking debate online after calling the 41-year-old “Cuff It” singer a “witch” all Christians should denounce.

“Any of you who are going to Beyoncé’s concert, I rebuke you in the name of Jesus, how dare you call yourself a Christian,” Montgomery, who founded the Covered By God ministry, boldly claimed in a video posted to social media last week.

“I don’t care what pastor you got who’s OK with it, I don’t care what pastor you got that think it’s cool, I don’t care what pastor you got that sing along to the songs because they want some clout,” she continued.

While the singer and her husband, Jay-Z, are no strangers to Illuminati and brain-washing conspiracy theories, Montgomery likened the performer’s concerts to a “witch” hosting covens, but on a larger scale.

Tiphani Montgomery passionately spoke about why Christians should not be Beyoncé fans last weeks in videos that have gone viral. Tiktok / , prophetesstiphani

“When a witch has a coven it’s normally a small thing. Witch’s covens are normally three to seven people,” the so-called prophet explained.

“When it becomes thousands it’s called a hive. Y’all a part of that lady Beyhive? And you call yourself a Christian?” she said in reference to the “Church Girl” singer’s fanbase. “May the dealings of the Lord come upon you.”

Beyoncé took home the 2023 Grammy for Best Dance/Electronic Music thanks to her latest album, “Renaissance.” Los Angeles Times via Getty Images

The Post has contacted Montgomery and reps for Beyoncé for comment.

In a statement to The Post on Tuesday, Montgomery doubled down on calling Beyoncé’s work “witchcraft.”

“The message that I delivered under the instruction of God at my event and to my audience was a warning to wake up and pay attention. Art creates! We as Christians and as Believers have no business watching, listening to supporting any artist who knowing draws from the occult to create,” her statement read.

“Her music, her videos, her messaging is witchcraft. Plain and simple. Had the message not been about one who many have given ‘idol’ status to, no one would have much to say. Yet here we are and my position, which is God’s position still stands: WE DO NOT AND SHOULD NOT GIVE A PASS TO NOR DO WE SUPPORT WITCHCRAFT INFLUENCING THIS GENERATION. PERIOD.”

@prophetesstiphani

THERE WILL BE A SHOWDOWN. ⠀ Baalyonce don’t even hide her worship to her many gods. The devil gave her INFLUENCE to MILLIONS and she uses her platform effectively for the kingdom of darkness. ⠀ And there you are. A Christian. ⠀ Singing along to her songs. ⠀ Look at you. Lol ⠀ A Christian. Scared to preach the gospel. A Christian. Scared to be bold. A Christian. Blind as a bat. A Christian. And compromised. A Christian. In mixture. A Christian. In trouble w God. A Christian. Renewing your covenants to the demons riding the dna of your bloodline for centuries when you were suppose to REPAIR THE BREACH. ⠀ LOOK AT YOU. ⠀ Scared to lose platform. Scared to lose money. Scared to lose followers. ⠀ YOU FEAR EVERYTHING BUT GOD. ⠀ THE WORLD IS NOT READY FOR WHAT’S COMING. IT WILL SHOCK YOU. ⠀ THE POWER OF GOD YOU’RE ABOUT TO SEE WILL SEND THE FEAR OF THE LORD SHIVERING UP YOUR SPINE. YOU WILL SEE PEOPLE DROP DEAD PLAYING WITH THE CREATER OF HEAVEN AND EARTH. ⠀ THE PROPHETS OF GOD WILL MOVE IN SERIOUS DEMONSTRATION OF POWER AGAINST FALSE IDOLS LIKE IN THE DAYS OF OLD. ⠀ THE PROPHETS OF BAAL VS THE GOD ALMIGHTY. GO FIGHT GOD IF YOU CAN. ⠀ THUS SAITH THE LORD. 🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥 ⠀ PS. FOR ALL Y’ALL SAYING “YOU NEED A NICER APPROACH OR WHO ARE YOU TO SAY AN IDOL WILL DIE…” ⠀ GO READ REV 11 RIGHT QUICK…🤌🏾 ⠀ Prophetess Tiphani ____ ⠀ Watch COVERED BY GOD so you can destroy these evil covenants you keep renewing everyday. ⠀ Click the link below and watch this message now called, “ALTERED AT THE ALTAR!!”! ⠀ https://www.youtube.com/live/V_oLX___tU0?feature=share

♬ original sound – TiphaniMontgomery

In her statement to The Post, Montgomery noted that in her “past,” she “was a fan, hence the tweets you shared.”

Internet sleuths dug up several tweets from years ago when Montgomery was singing a different tune — even claiming in 2010 that she was “addicted” to Beyoncé’s “Why Don’t You Love Me” and attended a Jay-Z and Beyoncé concert in 2014.

“I publicly came against and denounced their god baalyonce [sic] so they found these tweets from 2010, 2011, 2014,” wrote Montgomery on Twitter in defense of herself following the resurfacing of her old, pro-Queen Bey tweets.

“I GOT SAVED IN MY SHOWER AUGUST 2015. ANYTHING YOU SEE TWEETED BEFORE THAT WAS ME BEING AS BLIND AS YOU ARE TODAY!” she added.

Fans dug up tweets from Montgomery that contradict her stance on the “Irreplaceable” singer. Tiktok / , prophetesstiphani

On Super Bowl Sunday, Beyoncé’s fellow Destiny’s Child member Michelle Williams, 43, who released several gospel albums after the group disbanded in 2006, “entered the chat,” and denounced Montgomery’s comments.

“I am just watching a lot going on, things that are being said, specifically about entertainers, specifically about entertainers that I even have relationships with, entertainers that I know off the stage,” Williams said in an Instagram video.

“I just wish we would pray as publicly for entertainers as we rebuke them and damn their soul to hell. I know it ain’t my calling mission to damn entertainers to hell and to say that they would drop dead. The devil is a lie,” she added.

The Rapper Is Present

Three years ago, when the performance artist Marina Abramović sat in the atrium of the Museum of Modern Art for seven hundred and fifty hours, many of the people who had waited in long lines to sit across from her melted down in her presence. Abramović remained silent and still, enduring thirst, hunger, and back pain (and speculation as to how, exactly, she was or was not peeing), while visitors, confronted with her placid gaze, variously wept, vomited, stripped naked, and proposed marriage. But the other day, at the Pace Gallery in Chelsea, where Jay-Z was presenting his own take on Abramović’s piece—rapping for six hours in front of a rotating cast of art-world V.I.P.s—viewers’ primary response was to get up and dance.

Jay-Z (or Shawn Carter, or Hova, as he’s alternately known) was continuously performing “Picasso Baby,” the second song on his new album, “Magna Carta… Holy Grail,” to a succession of visual artists, museum directors, gallerists, Hollywood folk, and Pablo’s granddaughter Diana Widmaier Picasso. These guests took turns on or near a wooden bench positioned across from a low platform on which the rapper stood, except when he was prowling around. A crowd of less famous art-world denizens and cool-looking people (some of whom had been specially cast) loitered along the walls of the gallery, except when they were invited to scurry right up to Jay-Z. Roving steady-cam operators followed the instructions of Mark Romanek, the director of what will become a music video featuring more middle-aged white people than are usually in rap videos.

When Jay-Z, who is forty-three, entered, wearing a short-sleeved white button-down shirt, jeans, a gold chain with a hefty pendant, and a gold watch, everyone cheered. “I just want a Picasso, in my casa / No, my castle / I’m a hassa, no I’m an asshole,” he began. The artist George Condo, who had on sunglasses and New Balance sneakers, sat smirking and doing a nerdy-dad dance as Jay-Z rapped at him: “Fuck it, I want a billion / Jeff Koons balloons, I just wanna blow up / Condos in my condos.” (In the song, he also name-drops Rothko, Bacon, Basquiat, Warhol, da Vinci, Art Basel, Christie’s, the Met, the Louvre, and the Tate Modern.)

Little of Abramović’s—or, for that matter, Texas Senator Wendy Davis’ s—superhuman stamina was on display, as Jay-Z took numerous breaks and drank liberally from a bottle of Fiji Water. The stunt did recall “A Lot of Sorrow,” the National’s six-hour looped performance, organized by the artist Ragnar Kjartansson, of their song “Sorrow” at PS1 earlier this year. And it was also in keeping with the recent trend in rap-art world convergences. Just last month, Kanye West told the Times that his latest album, “Yeezus,” was inspired by a Le Corbusier lamp; Jay-Z repeatedly reminded the room, “I’m the modern day Pablo / Picasso, baby.”

Roselee Goldberg, a curator, critic, and champion of performance art who helped produce the event, walked up to the bench and began twirling and waving her arms, then dropped down to one knee. “Both performances, Marina’s and Jay-Z’s, encourage you to look somebody in the eye, which we don’t do enough of, and it’s daring to do that,” she said, when her turn was up. The artist Dustin Yellin busted out some break-dancing moves, spinning around on the ground and attempting a sort of handstand. He hadn’t known what he was getting into when he received the mysterious invitation, which required the signing of a name and likeness release, and a promise not to wear logos. “I thought Jay-Z was going to make some paintings or something,” he said.

Although ‘No Photography’ signs were posted around, cell phones materialized from pockets and purses almost immediately, and Jay-Z hammed it up. “I’m posing for your picture!” he said. “See that? That was statuesque.” (“It became apparent in the first three seconds that there was no way to control it,” Romanek said on the phone after the video wrapped. “I think when I edit, I’ll probably cut to a shot of the sign and then show the iPhones being held up.”)

Judd Apatow, the director, took a turn, plopping himself (and a galley of “Dirty Love,” by Andre Dubus III) down on the bench. While Jay-Z did his thing, Apatow pretended to take a phone call. He held up a finger and, faux-irritated, mouthed “one second, one second” at the rapper. “I don’t have any skills other than I can be the awkward, awkward guy,” he said later. “We are just polar opposites, a comfortable person versus a totally uncomfortable person.” The actor Adam Driver lingered on the bench, and had to be escorted back to the perimeter by Jay-Z’s security detail, members of which had been outfitted with matching gray suits, so that they resembled suspiciously buff museum guards.

“How was the intimacy level for you?” Apatow inquired.

“It was really intense,” Driver replied.

“Yellow Basquiat in my kitchen corner / Go ahead, lean on that shit, Blue / You own it,” Jay-Z rapped, referring to Blue Ivy, his one-year-old daughter with Beyoncé. Jeanne Greenberg-Rohatyn, a gallerist and art adviser to Jay-Z who helped coördinate the shoot, interpreted the lyrics: “He’s thinking about his relationship to art and to how you want one thing and then you want the next thing and then it comes all the way back around; now he has a family and how he passes on the cultural baggage.”

The gallerist Bill Powers said, “You know what’s weird? Marina’s performance was about, like, quiet moments and getting comfortable with the stillness, but I think there’s too much going on here for you to ever capture that.” He then headed toward the bench with his wife, the fashion designer Cynthia Rowley, and their daughter. When the lyrics got raunchy, Rowley covered the young girl’s ears; she rolled her eyes and stuck out her tongue. Jay-Z took over, covering her ears with his hands while continuing to rap—this she seemed O.K. with.

The Santa Claus-bearded conceptual artist Lawrence Weiner stepped up in high-heeled turquoise cowboy boots and lounged. Afterward, he said, somewhat cryptically, “He has a demeanor and I have a demeanor, and both of us have a cognizance of what it’s all about.” Asked if he has a favorite Jay-Z song, he demurred. “I came. I did. Isn’t that enough of an approval?” The artist Marcel Dzama arrived in costume: a polka-dotted robe with a clown collar and a giant cow mask, which he explained was partly inspired by Picasso, but more by Picabia, and which he’d made for a short film starring Kim Gordon. “I can’t see a thing out of this,” he noted, before blindly shuffling toward the center of the room.

When Abramović appeared, serene, in a voluminous black gown, the room fell silent. “I need energy from everybody. This is a once-in-a-lifetime opportunity,” a member of the production crew barked to the stunned crowd. The artist slunk in, discarding her shoes and her belt along the way, holding her arms out to the side, palms facing forward. What followed was a slow, seductive dance, the artist and the rapper pacing around, staring intently into each other’s eyes, occasionally pressing their foreheads together, the mind-meld complete. “I had no idea what I was going to do,” Abramović said afterward. “I just came here and felt the energy. I love his music, because it’s social issues, it’s political, and really goes to everybody’s heart. It’s so good. It’s like a volcano.”

Photograph by Emma Allen.

This Is Why So Many People Seem to Believe Beyoncé Is a Witch

Bey has played with an occult narrative over the years to add spice to her image, but court documents accusing her of ‘extreme witchcraft’ take things to a new low.

Tom Sykes

VALERIE MACON

A female drummer has accused Beyoncé of “extreme witchcraft,” casting “spells” on her, and killing her cat—and there’s a whole heap of people out there who are treating the bizarre accusations with the utmost seriousness.

The allegations have been made by Kimberly Thompson, a drummer who, in court documents obtained by The Blast, says she worked for Beyoncé for seven years and accuses her of “dark magic” and “magic spells of sexual molestation.”

According to the unusual court documents obtained by The Blast, Thompson, attributes to Bey the “loss of many jobs, theft of homes, the murder of my pet kitten, magic spells on my lovers, and numerous broken relationships,” and also alleges Beyoncé has been tapping her phones and controlling her finances.

The Blast says Thompson performed with Beyoncé as part of an all-female band, has released several albums on her own record label, and has played with The 8G Band on Late Night With Seth Meyers.

Thompson’s request for a temporary restraining order was denied by a judge, but what is surprising about this story is the amount of people on social media who appear to be taking the accusations seriously.

The triangle is thought to represent the all-seeing eye, a symbol often associated with the occult. Another piece of evidence often cited is Jay Z's album cover for "The Blueprint 3," where he is depicted as a puppet with strings attached. This image is said to symbolize his alleged manipulation and control by higher powers in the music industry, which some believe to be connected to witchcraft. Despite these rumors and speculations, Jay Z has never officially confirmed or denied his involvement in witchcraft or the occult. It is important to note that these accusations are purely based on speculation and conjecture, with no concrete evidence to support them. In conclusion, the rumors surrounding Jay Z and witchcraft have persisted for years, fueled by the alleged use of occult symbolism in his artistry. However, it is crucial to approach these claims with skepticism and recognize that they are nothing more than mere rumors unless proven otherwise. As with any celebrity gossip, it is always essential to separate fact from fiction and rely on credible sources before forming an opinion..

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The Witch's Blueprint: How Jay Z Crafted his Success with Occult Practices